- Jen Graves, Stranger, 2010
- Emily Pothast, 2010
- Susanna Bluhm, 2010
- Amanda Manitach, 2010
- Elizabeth Pence, Artweek, 2009
- Robert Pincus San Diego Union-Tribune, 2008
- Alec Clayton, Volcano, 2007
The basic concern of my current practice is the relationship of objects to their utility. I have shifted my attention towards temporary items and non-commodities like free piles, construction staging areas and unintentional window displays. The function, design or service these items may offer is questioned in my object making. There is an archeological imperative to my work that establishes objects as relics of a process or activity and attempts to evoke a story from which to better understand the role of human activities.
While visiting an exhibition of African fetish objects at the MQB in Paris, I was captivated by the mystique of the objects, their unknown purpose and visual evidence of their creation. This inspired me to alter everyday objects with actions akin to the fetishes- balancing, wrapping, binding- with modern materials. I then gave the sculptures away for free as offerings. An understanding by the viewer that they could receive a sculpture at no cost subverted the normal buy and sell association with the objects. The sculptures’ new utility as gifts gives rise to a direct relationship with the maker and promotes an internal gratitude for how objects enter into our lives and are appreciated.
Restoring an old fashioned sense of respect towards objects is important to me. By using mundane and non-precious materials I aim to educe a sense of appreciation to better contemplate the sacred quality of all objects. I am interested in how non-intentional arrangements of objects can have sculptural power. Ultimately I am interested in manipulating the potential energy of these ordinary objects as a sculptural element, exalting their effortlessness and intrinsic reasons for existing.
Chauney Peck, 2011