The Disagreeable Object on view through April 29

03 Feb The Disagreeable Object on view through April 29

the House:


February 3 – April 29, 2017

with Visiting Artist Virginia Overton

The Disagreeable Object, takes its title from Alberto Giacometti’s surrealist sculpture, The Disagreeable Object, 1931. A defying sculptural attempt against artistic categorization, poised between movement and rest, between art and non-art, The Disagreeable Object is a rebellious and humorously unappealing object. Its vulgar shape is embodied in a form that may be disturbingly incomprehensible, but nevertheless sculpturally perfect. During a lecture given at the San Francisco Art Institute in 1987, David Ireland alluded to his own similar sculptural concerns, comparing his work with that of Giacometti’s sculpture and he asked, “How does one develop a form that evades categorization?” Ireland’s inquiry prompted him to further develop an artistic process that engaged with non-traditional materials and situated work in unusual artistic contexts.


Virginia Overton’s work comprises installation, sculpture and photography, often beginning intuitively as a direct response to her physical presence in a particular space. Through a trial and error process, she creates sculptures that are performative, sometimes obstructing, bisecting, dividing or joining the architecture of a space with works that are dramatic and minimal in feel.

Similar to David Ireland, Virginia Overton’s practice is infused with an ethos of economy. Often using building materials commonly associated with architecture or construction sites: metal, plexi-glass, fluorescent lighting found or scavenged from resource sites or wood from her family farm in Tennessee, these materials are often transformed from their immediate use and into something new. Bent, folded, cut and/or suspended in space these materials are subject to change. Raw materials arranged into phenomenological configurations, unafraid to show their experience, history or defects. Balancing, leaning or ratcheted down, the bold adjustments of the work are always countered by a feeling of grace.

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