NADA Miami 2022

Beyond Landscape:

Sara Barker, Sekai Machache, Ilana Halperin

Booth 5.14

30 Nov - 3 Dec 2022

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Sara Barker, Joint, 2020

Stainless steel tray, stainless steel rod, automotive paint, oil paint and stick, varnish, tinfoil perspex, 60 x 49 x 9 cm  / 23.6 x 19.3 x 3.5 in

Patricia Fleming Gallery (Glasgow, Scotland) is delighted to participate in NADA Miami. Our booth this year explores feminist readings of the natural landscape. New works by Barker introduce a raw response and more intimate scale than previously seen in past exhibitions. Halperin’s laser etched ‘books’ of 400 - 800 million year old Mica sculptures hint at our interdependent but fragile relationship to the earth, a subtle yet significant contribution to feminist environmental land art. Sekai Machache’s epic journey Light/Deep Divine Sky delivers a full suite of works including five exquisite colour photographs depicting the artist, in performance, set in the dramatic light of the remote Scottish Flow Country.

 

This focused presentation proposes landscape as a site of action and change, questioning art history’s dominant romanticism that sees landscape as place of escape or wonder. Working from different perspectives the artists actively insert themselves into the landscape to expose and deconstruct ideas relating to identity, mysticism, spirituality, queer experience and contemporary human narratives within the natural environment.

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Sara Barker, Will, 2020

Stainless steel tray, stainless steel rod, automotive paint, oil paint, varnish, 54 x 44 x 17cm

Sara Barker

b. 1980, Manchester, UK, lives and works in Glasgow, Scotland

Barker’s work, influenced by literature, poetry and language reimagines landscape painting as sculpture. Blurring the boundaries between figuration and abstraction, through a process of decomposition of the natural environment, she creates work that sits between imagined and physical spaces. In this new series of works, traces of the human figure and human-made objects are found within hazily defined landscapes. Unlike previous work that required assistance from fabricators, these handmade works in their modest scale and intimate, sketch-like process, introduce a new rhythm to Barker’s practice.

Solo exhibitions include: undo the knot, Cample Line, Dumfriesshire (2021); All Clouds Are Clocks, All Clocks Are Clouds, Leeds Art Gallery (2020); The faces of Older Images, Mary Mary, Glasgow (2017); CHANGE-THE-SETTING, The Fruitmarket, Edinburgh and Ikon, Birmingham (2016). 

Group shows include: Drink in the Beauty, Gallery of Modern Art, Glasgow, UK (2021); She sees the shadows, DRAF x MOSTYN (2018); NOW, Scottish National Gallery of Modern Art, Edinburgh (2018); Condo, New York, Mitchell Algus Gallery, New York (2018); Virginia Woolf, an exhibition inspired by her writings (2018); Surface Work, Victoria Miro, London (2018); Women to Watch, Phillips, London (2017); Signal Failure, Pace, London, UK (2015).

Barker has undertaken a number of permanent public art commissions including Jupiter Artland, Edinburgh (2015 and 2013), University of Leeds (2020) and Barclays Clyde Place, Glasgow (2021) commissioned by Patricia Fleming.

Press

Frieze: Sara Barker, The Fruitmarket Gallery
Frieze: Sara Barker, Mary Mary
Scotsman: Small is beautiful for Sara Barker at Cample Line
Herald Scotland: Sara Barker: Undo the Knot, Cample Line
Corridor8: Sara Barker: All Clouds are Clocks, All Clocks are Clouds

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Sekai Machache, Light Divine Sky 2, 2021

Photographic print on aluminium, 125 x 84 cm

Sekai Machache 

b. 1989, Harare, Zimbabwe, lives and works in Glasgow, Scotland

Machache’s work brings together layers of drawing, performance, film and photography into photographic compositions that deeply interrogate the notion of self. Her practice is heavily influenced by African metaphysics and cosmology, ritual practice and performance, while her most recent project focuses on the Scottish landscape, Celtic folklore and Black Scottish Identity. Her series ‘Light/Deep Divine Sky’ shot in the Scottish Highlands, sees her outside of the studio and into the Scottish landscape. Even though she has lived in Scotland her whole life, she places herself in the rural landscape for the first time, in a deliberate act to reclaim a space where minoritised bodies are not usually associated with or welcomed into. Through a process of disseminating symbolic imagery, the work surfaces concerns around slavery, colonialism and the racial profile of rural Scotland.

Recent exhibitions include: Body of Land: Ritual Manifestations, Street Level Photoworks, Glasgow International (2021); These Stories: The Divine Sky, Studio Pavilion, House for an Art Lover, Glasgow International (2021); Projects 20: The Divine Sky, Stills Gallery, Edinburgh Arts Festival (2021); RESET - Alberta Whittle and Accomplices, Jupiter Artland, Edinburgh Arts Festival (2021); Hypnagogia Glossolalia, Fringe of Colour Films, Edinburgh Arts Festival (2021).

She is the recipient of the 2020 RSA Morton Award presented by the Royal Scottish Academy and is an artist in residence with the Talbot Rice Residency Programme 2021-2023.

Press

Fleming Collection: Sekai Machache: Kind(s) of Blue
Aesthetica Magazine: Sekai Machache: Cosmic Reflections
Scotsman: Ones to watch in 2021: Sekai Machache

Fringe of Colour: A story of cycles, movement and language: Responding to Hypnagogia Glossolalia by Sekai Machache

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Ilana Halperin, The Library, 2020, Etched books of 400 - 800 million year old Inverness-shire and New England Mica, Install view, Mount Stuart, Isle of Bute

Ilana Halperin

b.1973, New York, US, lives and works in Glasgow, Scotland

Halperin’s work moves between performance, sculpture, print, drawing and film. By connecting personal events and human histories to deep geological time, she allows for a space to think about our place within a vast continuum from a more intimate perspective. In her ‘Library’ series, she sources 400 - 800 million year old Mica from both sides of the Atlantic- Inverness-shire in the highlands of Scotland and Maine, New England. Personal narratives such as encountering Mica in the streets as a kid growing up in New York or symbols associated with queer activism, combined with histories embedded deep into the city and natural landscape, result in an alternative geologic library of laser-etched ‘books’ of Mica.

Solo exhibitions include: My Conglomerate Family, Cairn Art Centre, Digne-les-bains (2022); There is a Volcano Behind My House, Mount Stuart, Isle of Bute (2021); Excerpts from the Library, Patricia Fleming, Glasgow (2020); Minerals of New York, Leeds Arts University and The Hunterian, Glasgow (2019); Geologic Intimacy (Yu no Hana), Fujiya Gallery Hanayamomo, Peacock Visual Arts and Patricia Fleming (2017). 

Group shows include: The New Materialism in Current Art, Museum unter Tage, Bochum (2022); The Rock Cycle, Pier Arts Centre, Orkney (2022); Crystal Clear, Pera Museum, Istanbul (2021); Cosmogonies, MAMAC, Nice (2018); Être pierre, Musée Zadkine, Paris (2018); 18 4.543 billion: The Matter of Matter, CAPC, Bordeaux (2017); The Forces Behind the Forms, Kunstmuseum Thun, Switzerland (2016).

Press

Frieze: Ilana Halperin Sets House (and Geological Histories) In Order, interview with Hettie Juda
Frieze: Top 5 Shows to See in the UK and Ireland this August
Scotsman: Ilana Halperin, Mount Stuart
Studio International: There Is a Volcano Behind My House
Fleming Collection: Ilana Halperin, Living Mountain
The Herald: Travel through time with show inspired by Scottish geology

WORKS

The Library (detail), Ilana Halperin, 2020. Courtesy the artist and Patricia Fleming Galle

Ilana Halperin, The Library, 2020, Etched books of 400 - 800 million year old Inverness-shire and New England Mica, Install view, Mount Stuart, Isle of Bute

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