Improbable Objects

On April 10, 2013


Improbable Objects

Whitdel Art’s [WA] Emergence gallery is proud to present Improbable Objects, an exhibit of recent work by the artist Amy Weiks.  Ms.Weiks is driven to understand the world through making. She creates objects as a collector looks for the next piece to accession – the process is intuitive, a habit that pervades the conscious and subconscious mind. This artist collects visual information and technique, perpetually building a library of tacit knowledge. She is both a bricoleur, marshaling the skills and materials at hand, and an engineer, designing and implementing new tools and techniques to construct objects and build collections. Routinely, she finds herself inwardly deconstructing and reconstructing an object to puzzle out how it was made. Through this practice, the Ms.Weiks arrives at a deeper understanding of how our world is built and the tools we use to build it.

Through her objects and installations, there are allusions to a deeper cultural awareness that can be understood through visual and material cues, familiar forms and careful construction. Improbable Objects is a philosophical and material exploration of the utility of objects, a treatise on the nature of being of tools. The marks, folds and fingerprints left on metal, wax, paper and wood are the archeological clues of an imagined culture, a fictional cultural history. Like written fiction, these objects maintain an umbilical connection to reality.

After all, objects are containers of culture. They carry information about their makers and owners. We live in a fragmented culture where lost and reclaimed histories collide with invented and reinvented narratives, a battle between authenticity and artifice. The form language of intuitive recognition provides the context within which Ms.Weiks creates her objects of familiar function. The viewer understands enough about the potential of their own hands to comprehend the allusions to use and value. In their own understated way, her objects stand in quiet protest to the goliath of monoculture mass production.

Ultimately, this body of work is a meditation on our relationship to manufacturing and the cultural role of tools and functional objects. It echoes our culture’s lack of agency over the objects we consume. It explores our history and future through the sensitive and calibrated handling of materials to create objects onto which we can easily project imagined narratives.


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