STILL ATTACHED AT ALL FOUR CORNERS
2022, BOBINSKA BROWNLEE NEW RIVER
Richardson’s eye is attracted to the disregarded, unwanted or overlooked of the everyday, finding rhythm in upturned pallets and piles of building waste, greeting moths each morning along her studio corridor or ushering the odd rogue winged visitor to her flat out into the night.
In Still attached at all four corners, Richardson draws together what she calls the real and the phantom in sculptural images made from wood veneers and MDF.
The Rorschach-like pairings of burr wood veneers allude to the psyche and flights of fantasy. In using the material to reveal a snapshot of multiple points in time, these ‘moths’, as Richardson calls them, appear to tentatively cling to the walls in a momentary pause. Their presence is counterbalanced by the utilitarian uniformity and timeless mundanity of mdf pallet structures, useless images of redundant carriers, anchored by gravity.
Richardson says, "If I have to be pinned down to saying what the exhibition is about, ... it is an allegory of transience."