Singapore-born Simryn Gill worked with curator Catherine de Zegher to develop her site-specific exhibition “Here art grows on trees.” Consisting of large-scale drawings, photographs, and Gill’s signature collections of found objects, the exhibition explores subjectivity while referring to the in-between zone inhabited by the artist; this is a place of negotiation described by de Zegher as “intertidal.” Gill, who lives in Malaysia and Australia, brings together fragments of text formed into a swarm of insectlike creatures, a cast-steel maquette of a half moon, photographs of leaves, and precisely curated collections of found objects. It all promotes what de Zegher calls “a space of negotiation between the small and the global, between nature and industry, as it reveals an understanding of the interconnectedness of all in a world in flux.” Although the relationship between nature and industry is of special importance to Gill, she also explores the associations between the beach and the street, inside and outside, the house and the neighborhood, the ephemeral and the corporeal, East and West. “While modernity has promoted a linear view of the world, Gill promotes a more cyclical view,” de Zegher says. “She reveals that we are just a section in the chain, interdependent among each other as well as the environment—a position we have to take on in the 21st century.”
Simryn Gill on Artinfo
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