Liste 2022
Laurence Sturla
Laurence Sturla
For Liste 2022, GIANNI MANHATTAN is pleased to present new works by Laurence Sturla (b.1992, Swindon, UK; lives and works in Vienna), together with works by Cudelice Brazelton IV, presented by Galeria Wschód, Warsaw.
Running alongside two sides of the booth in an L shape is a waist high plinth. Recessed into it are basins, lined with black tarpaulin and containing a high saline solution. Within these baths, Sturla’s high fired ceramics are submerged.
These high fired ceramics, despite their vitrification, are still porous enough to allow a form of osmosis to happen as the ceramic works sit in salty water. This exchange renders the pieces as time based, or durational. Over the course of the fair they absorb the saline solution, and slowly sweat out salt crystals and develop salty strata, reminiscent of tide lines or artifices retrieved near a coastal dig.
Sturla’s visual language of his ceramic sculptures are part industrial, mechanical, part engine, part architecture. They draw heavily from Sturla’s upbringing in Swindon, once part of the thriving industrial revolution in England but now one of many English towns lined with empty factories. Sturla’s post-industrialist machines illustrate the fallacy between technological precision and our (in)ability to recall and visually digest space, function or logic.
Shared booth with Galeria Wschód
Running alongside two sides of the booth in an L shape is a waist high plinth. Recessed into it are basins, lined with black tarpaulin and containing a high saline solution. Within these baths, Sturla’s high fired ceramics are submerged.
These high fired ceramics, despite their vitrification, are still porous enough to allow a form of osmosis to happen as the ceramic works sit in salty water. This exchange renders the pieces as time based, or durational. Over the course of the fair they absorb the saline solution, and slowly sweat out salt crystals and develop salty strata, reminiscent of tide lines or artifices retrieved near a coastal dig.
Sturla’s visual language of his ceramic sculptures are part industrial, mechanical, part engine, part architecture. They draw heavily from Sturla’s upbringing in Swindon, once part of the thriving industrial revolution in England but now one of many English towns lined with empty factories. Sturla’s post-industrialist machines illustrate the fallacy between technological precision and our (in)ability to recall and visually digest space, function or logic.
Shared booth with Galeria Wschód
13.06.22—19.06.22
Messe Basel, Hall 1.1, Messepl. 10, 4005 Basel, Switzerland
> Installation views
For Liste 2022, GIANNI MANHATTAN is pleased to present new works by Laurence Sturla (b.1992, Swindon, UK; lives and works in Vienna), together with works by Cudelice Brazelton IV, presented by Galeria Wschód, Warsaw.
Running alongside two sides of the booth in an L shape is a waist high plinth. Recessed into it are basins, lined with black tarpaulin and containing a high saline solution. Within these baths, Sturla’s high fired ceramics are submerged.
These high fired ceramics, despite their vitrification, are still porous enough to allow a form of osmosis to happen as the ceramic works sit in salty water. This exchange renders the pieces as time based, or durational. Over the course of the fair they absorb the saline solution, and slowly sweat out salt crystals and develop salty strata, reminiscent of tide lines or artifices retrieved near a coastal dig.
Sturla’s visual language of his ceramic sculptures are part industrial, mechanical, part engine, part architecture. They draw heavily from Sturla’s upbringing in Swindon, once part of the thriving industrial revolution in England but now one of many English towns lined with empty factories. Sturla’s post-industrialist machines illustrate the fallacy between technological precision and our (in)ability to recall and visually digest space, function or logic.
Shared booth with Galeria Wschód
Running alongside two sides of the booth in an L shape is a waist high plinth. Recessed into it are basins, lined with black tarpaulin and containing a high saline solution. Within these baths, Sturla’s high fired ceramics are submerged.
These high fired ceramics, despite their vitrification, are still porous enough to allow a form of osmosis to happen as the ceramic works sit in salty water. This exchange renders the pieces as time based, or durational. Over the course of the fair they absorb the saline solution, and slowly sweat out salt crystals and develop salty strata, reminiscent of tide lines or artifices retrieved near a coastal dig.
Sturla’s visual language of his ceramic sculptures are part industrial, mechanical, part engine, part architecture. They draw heavily from Sturla’s upbringing in Swindon, once part of the thriving industrial revolution in England but now one of many English towns lined with empty factories. Sturla’s post-industrialist machines illustrate the fallacy between technological precision and our (in)ability to recall and visually digest space, function or logic.
Shared booth with Galeria Wschód
