Tai Shani
Tai Shani
I have been investigating different approaches to installing my work by looking at methods used by Tai Shani, Lindsey Mendick and Emma Hart. Shani’s work ‘THE NEON HEIROGLYPH’, explores the possibilities of women’s historical space through performance and sculpture is inspiring to me as it combines elements of prop making, with contemporary art. My journey through painting began with an interest in psychedelia and myth – which is a big part of Shani’s story telling through contemporary practice. Although my work is less about psychedelia and more about the relationship between creative freedom and adults (compared to the relationships between creative freedom and children) - An intrinsic interest in psychedelia and myth still has a place within my practice, even though it is implicit not explicit.
Some of Shani’s work has overlapping sensibilities with Ron Nagle’s work. In her work for De La Warr which was nominated for a Turner Prize, was some of her smallest scale works (shown below).
Tai Shani
Ron Nagle
Ron Nagle
NH: BENEATH THE COMMUNE / DAULANG YONGSAN SEOUL 2022
“Beneath the commune, in the chthonic, hallucinatory place, there is no one time or space – one people or dream – one past, present, future. Beneath the commune, we balance on a knife edge of contradictions and inversions, of images and ideas that share a world just beyond ours, a world just within reach.
a collective body of paintings, sculptures, wall reliefs, and prints that constitute NH: Beneath the Commune.”
Ref: https://www.taishani.com/nh-beneath
I enjoy Shani’s combinations of materials - going forward I am going to be brave and explorative while focusing on what works and what doesn’t.
I am going to do this by focusing on a small scale and then growing the language of my work from a seed which I will water as needed, with intent and less urgency.