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IMG_0270IMG_0261carriageart611Factory49_150513_MarleneSarroff

 

“you get what you choose” 365 Day Instagram Project   February 2017

These works are a small collection of a much larger collection of 365 works, the product of a disciplined daily practice of making an artwork, photographing it and posting it on Instagram. The work is a combination of Social Media, Technology, and Art.

The work is made from a diverse range of found things. It is an investigation of the ordinary from the perspective of the “found” be it the rejected, the disposable, the temporary or forgotten objects that are intrinsically part of this creative process. All discovered things create vital possibilities that are transcended through a daily practice of living the everyday aesthetically.

Most important is allowing spontaneity, freedom, chance encounters and the unexpected as well as meeting the demands of a 

daily practice of being vitally alert. What transpires in making the work is accidentally miraculous, an engagement with a new kind of anthropology, an immersion in the pleasures of popular culture, or a meditation on what happens unexpectedly. It simply is a means of seeing everyday objects in a new light. As Henri Lefebvre, a theorist on this subject, notes the “concept of everydayness (can) reveal the extraordinary in the ordinary.

At a philosophical level the celebration of the everyday has oppositional and dissident overtones, offering a voice to the silenced and proposing possibilities for change.

Instagram, is an important component in the creation of this project. Posting the work daily creates another aspect of showing,art by presenting the Project to an audience that can see and follow as the Project evolves over 365 Days. Each day is different and presents a spontaneous creation pertaining to the day of the artist. Instagram is contributing to the Project as the works will be installed in the gallery space (future) in the same order as posted on Instagram. The idea of having an instant viewing audience daily is inspirational for the artist and propels the work to continually be created and shared. The artist is assessing the overall look as the work evolves. Each day photographing the work and to ensure a good image, prior to posting is paramount.

 

Sustained Expansion  CATALOGUE ESSAY  October 2015

The Fold is a form of connection that follows the general principals of a Deluezian concept : open ended and exhaustive, non-exclusive and unlimited exterior and infinite. Folding and unfolding no longer simply means tension – release contradiction – dilation, but enveloping – developing , involution and evolution.   The Fold is a figure of a multi-centred world, a world of intersecting planes of flourishing possibilities and synchronicity

In the exhibition Sustained Expansion, Marlene Sarroff is undertaking an exploration of ‘The Fold’. She says” the fold simultaneously combines the idea of an action, where one can bend  over or double up, or make compact by doubling or bending. Parts can also be extended to a closed position or bring from a compact to an extended position. Like stage props takes possession of the space as three dimensional installation.

The installation reveals a visual horizon, that suggests a congested almost claustrophobic environment that has the possibility to be expanded by subtle adjustments. However there is a vulnerability prevailing as they could also expand too far and collapse to a flat nothingness.

 

 

multiple visions and (mis-steps), CATALOGUE ESSAY May 2015

The Fold is a form of connection that follows the general principals of a Deluezian concept : open ended and exhaustive, non-exclusive and unlimited exterior and infinite. Folding and unfolding no longer simply means tension – release contradiction – dilation, but enveloping – developing , involution and evolution.   The Fold is a figure of a multi-centred world, a world of intersecting planes of flourishing possibilities and synchronicity

Marlene Sarroff is undertaking an exploration of ‘The Fold’. She says” the fold  simultaneously combines the idea of an action, where one can bend  over or double up, or make compact by doubling or bending. Parts  can also be extended to a closed position or bring from a compact to an extended position.   Sarroff’s material based practise, is driven by mass produced materials, that dictate the process undertaken . A dynamic combination of material, form and colour playfully scatter across the gallery space on the floor and walls, like stage props taking possession of the space and creating a three dimensional installation. Intended to excite both the eye and the mind and translate into an aesthetic artistic form of which plays an important part in the way the works are assembled.

 

EQUILIBRIUM (Deconstructed)  CATALOGUE ESSAY 2014

 

Equilibrium is defined as a state of balance or a stable situation where opposing forces cancel each other out and where no changes are occurring and influences are balanced.

Marlene Sarroff allows abstract ideas to merge equally with the use of everyday materials and found objects. She is guided by the persuasiveness of the material and objects. By freeing the “things” by dissociation,estranging them, removing them from their context, with the aim simply touring things together as far as possible in an unaltered state.Always allowing the juxtaposed materials to speak for themselves within a spatial environment. The key in Sarroff’s work show she provides these objects with the potential to take on new meaning,giving them licence to express unknown aspects oftheir virtual selves. In EQUALIBRIUM (Deconconstructed) , found rubber pieces are carefully assembled like a puzzle, placed and fixed to a wooden surface, without altering the pieces. The works are both rectangular and square, grouped irregularly  on the gallery wall  interspersed  with other works from a deconstructed laser cut magazine rack also on a wooden surface. A felt carpet balances evenly from a buckled strap, and a heavy duty folding cardboard unfolds  down to the floor. The floor is dominated by a large flat oval wooden shape (table top) and situated in the gallery corner , circular discs balance precariously in cluster. The exhibition takes on the appearance of an installation collage, where various unrelated objects, are united in a balanced yet unpredictable way.

 

RESTRICTIVE ACCUMULATIONS    CATALOGUE ESSAY  2013

 

In this exhibition Restrictive Accumulations,  Marlene Sarroff draws on her immediate urban industrial surroundings to source objects and discarded industrial factory products. Her aim is simply to bring ‘things’ together, as far as possible in an unaltered state, allowing the juxtaposed materials to speak for themselves. hence, the artist no longer ‘creates’ but rearranges things into works, drawing attention to the interdependent relationships between things and the  space surrounding them. The aim is to challenge pre-existing perceptions of such materials and relate to them on a new level.

The materials and objects, although accidently discovered, are carefully selected so as to create a sense of the accumulative, but at the same time there are subtle  restrictive elements at play. Both metaphorically and realistically, the installation provides the audience a space for focussed contemplation.
Catalogue:    http://issuu.com/sarroff/docs/marlene_sarroff_email

 

LOOSELY CONTAINED                  CATALOGUE ESSAY         2012

 

Marlene Sarroff’s exhibition ‘Loosely Contained’ is a site specific installation with the emphasis on easily collapsible and movable temporary structures. She has created a monochrome atmosphere where the inner dialogue slows and things are what they appear to be.
The coming together of very simple objects and forms readily resonate with each other. Sitting comfortably in the space, the work has the appearance of arriving almost by coincidence. Although the intention is rigorous, at the same time, the playfulness of the arrangements is evident. Mass produced industrial materials such as cardboard boxes are manipulated and reinvented creating a shifting sense of order readily open to reconfigurations and rediscovery. As the title suggests, containment is precarious, randomness, spontaneous ideas and accidents are very much a part of this dynamic installation.

 

REVELATION THROUGH CONCEALMENT          CATALOGUE ESSAY        2011

 

The exhibition Revelation through Concealment, is concerned with covering up the surface and revealing a new one. Marlene Sarroff’s work is always strongly influenced by materials and process and this exhibition departs from previous work, only in her change of both process and the material used. This new body of work features elasticised material. Elastic and flexible materials are stretched and wound in a rotating motion around and over the entire circular, square and rectangular shapes.
Although the process is repetitive, the finished works develop a surface of random patterning each one individual, and at the same time remain a cohesive cluster. The installation features wall works and floor stacks creating a sense of serialisation, with a subtle randomness. The floor stacks, are connected to the wall works by sharing of the materials and developing an overall connecting coherence.

 

DISRUPTIVE ELEMENTS              CATALOGUE ESSAY               2010

 

The exhibition, Disruptive Elements,explores the dynamic interconnection between the striated surface space and the smooth surface space. When the smooth space is disturbed interrupted and ruptured by the intervention of cutting, peeling and repositioning a process of change brings into being a striated space. The striated space becomes new territory, emerging and developing a dialogue with the smooth. The smooth and striated space is found on the surface of corrugated cardboard which consists of several large black rectangular and square works. These works are assembled together, some overlapping, like a cluster, strategically placed, and resting against the gallery wall. Several parts make up one complete work. They are connected although they can be separated or rearranged into other configurations and are capable of producing any number of effects. In the gallery space another form of disruptive elements emerges resulting from the way the works are placed, causing a disruption for the viewer whilst in the gallery space itself.
Marlene Sarroff’s work is concerned with materials and process. She uses ordinary industrial materials and then implements a process to manipulate them enough so a s new work evolves. , whilst at the same time, being true to the material. Previously, she has used soft, light materials such as bubble wrap and used a process of winding around.
In Disruptive Elements mostly the material is hard and the process of cutting and peeling presents a bolder aesthetic. However, one work in the exhibition does continue the process of winding. White elastic is wound and stretched around a frame, completely covering it, and creating a contrast to the hard surfaced cardboard works. So the hard and soft creates a contrast of surfaces and continues a process used previously by the artist.

 

DISPERSION         CATALOGUE ESSAY  2010                  


Dispersion explores ideas relating to REALITY and how we perceive it. The main inspiration comes from an ongoing research into the inter-relationship between Physics and the world around us. Probabilities are determined by the dynamics of a whole system and investigations reveal the opportunities for a vast array of variable configurations and arrangements. Many separate parts come together as a whole and at a later date are reconfigured into different patterns. Sarroff indicates how the whole becomes not only more than, but very different from the sum of its parts. Impermanence is everywhere and everything is in flux, patterns emerge only to be rearranged into a new dynamic.
As in previous work, materials are the driving force behind Sarroff’s work. The employment of brand new manufactured materials, in this instant ‘bubble wrap’,
and its unlimited availability, constitutes a physical resource that can be utilised and redefined into a new aesthetic, well beyond its original purpose. Her commitment to ‘bubble wrap’ is inspired by its flexible, translucent qualities, that allows folding, winding, stapling and pinning along with its clear and ‘acid pink’ colour. Patterning and configuration are considered when determining the structure of the works but the final form evolves from the innate properties and structures of the material itself. In this exhibition, sculptural wall works each made to a particular random system, combined with ‘acid pink’ bubble wrap clusters, that subtly suggest, scientific or biological things. The underlying theme of this exhibition is about renewal and transformation and the forever changing world around us.

 

PATTERNS OF PROBABILITIES   CATALOGUE  ESSAY 2009      

 

Patterns of Possibilities explores ideas relating to REALITY and how we perceive it. The main inspiration comes from an ongoing research into the interrelationship between Physics, the self and the world around us. Probabilities are determined by the dynamics of a whole system. Investigations reveal the opportunities for a vast array of variable configurations and arrangements.  Many separate parts come together as a whole and and at  a later date are reconfigured into different patterns.  Sarroff indicates how the whole becomes not only more than, but very different from, the sum of its parts.  Impermanence is everywhere and everything is in flux, patterns emerge only to be rearranged into a new dynamic.

All the works are born of everyday materials such as bubble wrap, tape, plastic and bamboo mats.  She considers patterning and configuration when determining the structure of her works but the final form evolves from the innate properties and structures of the material itself.  Large sculptural  wall works, each made to a particular random system, using bubble wrap and tape,  combine with black shiny intricate small bamboo mats grouped together mimicking tessellation patterns.  As in previous work, materials are the driving force behind Sarroff’s work. Often materials are manipulated by intense process as demonstrated in this exhibition. But also some are left in their original state, such as the carefully stacked, cellular like, psychedelic pink plastic containers that could be alluding  to scientific or biological things.

 

REVIEW: ABSTRACT ART REVIEW    September 2009              

 

Marlene Sarroff’s recent exhibition at Factory 49 ‘patterns of probabilities’ opened on Wednesday 23 September 2009. the exhibition explores ideas relating to our perception of reality, random patterning and science. The works strongly convey Sarroff’s interest in physics and the multiple possibilities that emerge from exploring patterns. Sarroff exhibited three works from her ‘Wall Sculpture’, series, made from bubble wrap and tape, a wall installation  titled  ‘Variables’ made from bamboo placemats, acrylic and pins and an arrangement.  The ‘ ‘Wall Sculptures’, clearly demonstrate Sarroff’s sensitivity with material. The work is sensuous and conveys a tactile fragility that enhances her ready made materials. the monochromatic interpretation is in sharp contrast to her 2007 20rk ‘My imaginary Cosmos‘ , also exhibited at Factory 49. In this series Sarroff declared her love affair with colour, creating exuberantly vibrant works.

In the installation ‘Variables’ Sarroff combines bamboo place mats in multiple combinations.  Over 50 place mats were engage on the exhisting work.  In this way some areas of the work were built up to two or three layers, creating a sense of depth and generating additional forms of patterning. Sarroff’s claim that only one work exists but many are ‘possible ‘ is documented in the form of a photographic series.

patterns of probabilities‘ closes on Saturday 17 October

 

 

REVIEW  – PULSE   2008

Artist Statement http://www.artshub.com.au/au/news.asp?sId=174272&ref=hubber

News, analysis and comment
VISUAL ARTS REVIEW
By Dominique Serisier Arts Hub
Monday, September 29, 2008

Marlene Sarroff’s exhibition at Factory 49, ‘Pulse’, is a feast of sensations. The works are at once sensual yet playful, suggestive yet innocent. The eyes take in the floral-esque circles of winded bubble-wrap and cardboard, while the fingers itch to touch the mediums used. Maybe this contrast is because of her use of found objects. In these works her main material is bubble wrap, a material we have all been guilty of playing with. It is a medium that has such a tactile quality Or maybe it is her use of colour. One work is a vivid red while another is an combination of iridescent white and silver.

The imagery created within the works is very floral and decorative in nature. Each circle of winded bubble wrap looks like a rose bud about to burst forth. When grouped together it is a garden of bubble wrap rosebuds. Such a utilitarian medium has been transformed into rather beautiful organic forms. Marlene Sarroff herself has described her work as investigating ideas of repetition, order and chaos.
Such ideas are evident in these works that seem to lie on the verge of flowering into chaos, of bursting forth.

In each piece there is a fine line between control and disorder, there is a feeling of energy just waiting to be released. Sarroff’s focus on pattern is also easily discerned, only now the stripes have been swapped for circles that individually and together create a range of patterns. Each work seems to have organically evolved from the materials used to create such tactile pieces. Pieces that are so sensual and suggestive at the same time.

FACTORY 49
49 Shepherd Street, Marrickville 2204. (02) 9572-9863. factory49@optusnet.com.au Sept 24 to Oct 4 (opening Sept 24 at 6pm)   WALL INSTALLATION  by MARLENE SARROFF.