Anarchy played out on a bored game / Melting Roger the Rabbit’s head down to a puddle mirror pool / Terminator 2017 in sneakers
Playing with serious(ness)
Amanda expects people to play, and she expects
people to be playful, curious and conscientious in their play. So, can we play freely and democratically? How do we interact, how do we share objects? And, how might an object reveal the playground, map out the public domain, and the magic of private pleasure, solitude and quietness (even in a crowd)
By making interactive work amanda is asking what the gallery space can be, and what our expectations of the gallery space are? By negotiating the health & safety web of inconvenience amanda is working out how safe a piece of art needs to be. Can an artwork be allowed to be unsafe, even dangerous? Should an artwork be allowed to be dangerous? What level of risk are we willing to engage with? What is the threshold of the gallery space, when does it begin and end, and what can an artwork be? These are all questions posed by amanda’s work.
In the heat of the furnace / attitude with conscience / rude matters / swagger with molten mittens
Imagine a swing oscillating after everyone is gone / make the most of it / gotta’ catch ‘em all
Crashing, spinning and diving through the urban jungle / snatching up bronze nuggets / jump, jump / level up!
A body enters a gallery, said body finds the space filled with curious objects, the body is compelled to, encouraged to engage with the objects… just don’t touch.! But, the body wants to touch things, everything! (itself ;) amanda’s work is for touching. Amanda’s work is touching. The work is for looking at, and it looks back, expectantly. The artwork desires the attention, the momentum of the human body. Misbehaving (relative) is encouraged, boundaries can be dissolved. Don’t chew the bronze! The game is a finger or a toe… a foot?
Amanda plays with a tension between the precious material she uses and the levity with which she deploys it; blending high and low culture, making the difference disappear, by making sure the difference is reciprocal (oscillates) playful and whimsical, but painstakingly, industriously realised; making heavy materials seem light, and hard matter soft.
Elevating the common, or garden swing while taking some of the hot air out of the art world balloon.
The juvenile and the ancient
Always playing with assumptions and challenging authority.
Amanda’s artwork is deeply conscientious. She is concerned with removing hierarchical expectations, and with ‘welcome to the common ground’, amanda levels the playing field. Everyone is invited to sit upon high culture and regress into pre-culture. Governed by an inner sense of what is right amanda directs us to lean back and take a swing at seeing the child in everyone, from a very grown up seat.
By inviting artists to work in the space during the exhibition amanda makes it clear that the real value, as she sees it, in putting on a show like this, is sharing the experience. The author is a expanding collective, and this opening up of the platform, beyond the “solo show”, is a way of sustaining the energy right through from pv night to closing party. This approach means the show itself does not have to turn into some sort of liminal, passive time for contemplation, but instead creates opportunities for more making to get done, and more time to engage with guests, and peers.
Like pippi, who draws a picture of a horse on the floor because it won’t fit on a piece of paper, amanda’s artwork will not be confined. Hanging the swings requires the space be altered. The chalk slippers make sure the game is a foot.. The collaborative experience gets everyone involved. The artwork challenges the gallery space’s edges; colouring in and outside of the lines, pushing through the walls, out onto the street, demanding everyone get involved! (and, don’t forget. This is serious! No f*cking about ;)
We have to be willing to be physical to experience amanda’s work. Amanda creates encounters, like pippi might do, with child-like enthusiasm; blending tools and toys, playing with making, and making artwork you want to play with.
It could be argued that pippi’s super-human strength might be read as a demonstration of audre lorde’s liberation of the erotic. Lorde’s erotic power goes beyond sexual liberation and describes an open-hearted enjoyment of experience, without the need for authoritative/institutional, patriarchal approval/validation.
Amanda plays with the sexiness, bodily-ness of swinging; by including a mirror in the gallery we are invited to gaze upon adults playing, suggestive of a sexualised play. The round mirror is for watching yourself, and for being watched, and suggests surveillance, or an increased perspective. The mirror activates the space, revealing the gallery space to itself, a gallery perving over itself.
“i have never tried that before, so i think i should definitely be able to do that”
I taut i taw a puddy tat!
I swing, yellow in the sunshine, by the window
Beaming and carouselling; pivoting over a mirror finish cage floor
Gilded creature of jason fleece hue
Captivating the creature with the hungry eyes
It’s a predator prey thing (an old thing)
I, the object, the perched bauble bull’s eye
Intriguing to the point of catastrophe
Flickering like a barcode through wedges of light
I am the end of the swing, waiting for gravity
Curiosity lifted me up to see my fate
Now it’s mine to own
Amanda Moström, born in Umeå , Sweden in 1991. Now living and working in London. She graduated Fine Art Sculpture from City and Guilds of London Art School in 2016. Doing it in the park, doing it after dark, is her first solo exhibition. She is currently in Bloomberg New Contempories at Block 336, Brixton which continues until 3 March, following its launch at The Baltic 39 in Newcastle in late 2017. Recent shows include Hopp och Lek, a collaborative project with Lucas Dupuy at The Kennington Residency & Collyer Bristow Award.