Miranda Blennerhassett often works directly onto gallery walls to create spatial configurations that draw on patterns, symbols and motifs familiar from interior decoration and architecture. Using the given spatial restrictions of a particular exhibition space, she explores how we experience containment within the built environment, whether they are those of the 'cosiness' associated with the domestic interior or the stark geometric and Utopian compositions of a new town planner. Thus, Blennerhassett uses the physical structure of the gallery as a support ground to the painted – and sometimes sculptural – elements that incorporates the institution itself as apart of an actual piece of work.
Blennerhassett explores our emotional and physical co-dependent relationship with constructed space, our desires for the physical
world we inhabit and the, sometimes misguided, wishes imposed upon us by those entrusted with the task to build them. In this examination of the modernist experiment, complete with all its flaws and failures, the artist acknowledges our requirement for freedom and non-conformity. The architectural details, refined and reduced into monochrome components and laid against flat backdrops of colour, all act as 'a window/exit point from the containment of the gallery walls to reference a spatial realm beyond the present architecture'.1
Paul Stone, 2008
1. Statement by the artist, 2008.
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