Mush, Mush, The Sloping Midnight Line
Carson Ellis with supporting pieces by Midori Hirose
Opening 17 November 2012
I was invited to show with Carson Ellis and decided to create a visual dialogue through sculptures in response to Ellis' work.
The sculptures were made during our studio discussions and her mush~mush~ painting—process—pacing—progression—passage.
Carson Ellis returns to Nationale with Mush, Mush, the Sloping Midnight Line- an exhibition of new works on paper influenced in parts by the Norwegian novelist Sigrid Undset and her acclaimed Kristin Lavransdattar trilogy.
Like the above work of medieval fiction, Ellis’ enchanting scenes entwine together into a compelling narrative of desire, fear, atonement, nighttime voyages, and motherhood. Her characters’ navigate their destinies with the inspiring, yet clearly fated, qualities of romantic stoicism and self-determination. The resulting discord between this tragic core and Ellis’ serene, midnight landscapes of snow-covered fields, stave churches, and fantastical vegetation inspires a new folklore that, while rooted in a romanticized past, ultimately evokes a more introspective present.
Accompanying this exhibition, Midori Hirose’s snowdrift sculptures of globular braids and ethereal flakes beautifully echo the tension stimulating Ellis’ mythical Nordic backdrops. For, while their once-charged underbellies of painted psychedelic swirls appear frozen within the enveloping plaster glow, one senses that this silencing of time and energy is only temporary.
I. Carson Ellis, Mousseron Midnight of Munan Bjørgulfsson, 2012, gouache on paper, 8"x10" (courtesy of Carson Ellis and Nationale).
II—XI. My braids and snow blobbidy-blobs.