Material Art Fair 2019
Simon Mathers & Lucia Elena Prusa
Simon Mathers & Lucia Elena Prusa
Before the day has been cut into hours, distances made quantifiable by a metric system, it was the human body that served as the primal sensory organ to quantify time and space.
Artists Simon Mathers (*1984 in Somerset, lives and works in London) and Lucia Elena Prusa (*born 1985 in Italy, lives and works in Vienna, Austria and México City, México) both use the human body as a volatile tool to measure time and space and its correlation to affect.
Lucia Elena Prusa creates ‘body tools’ to describe how any form of technology is an extension of our limbs, a crude prothesis to enhance movement or master time. Her latest sculpture ‘4. Use How and Why Questions’ (2019) consists of 16 sharp objects, the point of their blades pointing inwards, an oversized face of a clock with 4 too many hours. Both the new work and the ongoing series of amalgamated clocks point to the man made construct of time as well as the (ir-)relevance of time.
Simon Mathers’ new series of encaustic paintings are dedicated to transience and the irreversibility of time. This series of works are tumescent bulges that are each a moment in time that is precisely recalled. Each a representational painting of an emotional situation, these works convey the potential and trepidation of disembarking and are the artist’s nod to Japense woodcuts as much as the Fayum mummy portraits.
Artists Simon Mathers (*1984 in Somerset, lives and works in London) and Lucia Elena Prusa (*born 1985 in Italy, lives and works in Vienna, Austria and México City, México) both use the human body as a volatile tool to measure time and space and its correlation to affect.
Lucia Elena Prusa creates ‘body tools’ to describe how any form of technology is an extension of our limbs, a crude prothesis to enhance movement or master time. Her latest sculpture ‘4. Use How and Why Questions’ (2019) consists of 16 sharp objects, the point of their blades pointing inwards, an oversized face of a clock with 4 too many hours. Both the new work and the ongoing series of amalgamated clocks point to the man made construct of time as well as the (ir-)relevance of time.
Simon Mathers’ new series of encaustic paintings are dedicated to transience and the irreversibility of time. This series of works are tumescent bulges that are each a moment in time that is precisely recalled. Each a representational painting of an emotional situation, these works convey the potential and trepidation of disembarking and are the artist’s nod to Japense woodcuts as much as the Fayum mummy portraits.
7.02.19—10.02.19
Frontón México, Av. de la República 17, Tabacalera, Cuauhtémoc, Mexico City, Mexico
> Installation views
Before the day has been cut into hours, distances made quantifiable by a metric system, it was the human body that served as the primal sensory organ to quantify time and space.
Artists Simon Mathers (*1984 in Somerset, lives and works in London) and Lucia Elena Prusa (*born 1985 in Italy, lives and works in Vienna, Austria and México City, México) both use the human body as a volatile tool to measure time and space and its correlation to affect.
Lucia Elena Prusa creates ‘body tools’ to describe how any form of technology is an extension of our limbs, a crude prothesis to enhance movement or master time. Her latest sculpture ‘4. Use How and Why Questions’ (2019) consists of 16 sharp objects, the point of their blades pointing inwards, an oversized face of a clock with 4 too many hours. Both the new work and the ongoing series of amalgamated clocks point to the man made construct of time as well as the (ir-)relevance of time.
Simon Mathers’ new series of encaustic paintings are dedicated to transience and the irreversibility of time. This series of works are tumescent bulges that are each a moment in time that is precisely recalled. Each a representational painting of an emotional situation, these works convey the potential and trepidation of disembarking and are the artist’s nod to Japense woodcuts as much as the Fayum mummy portraits.
Artists Simon Mathers (*1984 in Somerset, lives and works in London) and Lucia Elena Prusa (*born 1985 in Italy, lives and works in Vienna, Austria and México City, México) both use the human body as a volatile tool to measure time and space and its correlation to affect.
Lucia Elena Prusa creates ‘body tools’ to describe how any form of technology is an extension of our limbs, a crude prothesis to enhance movement or master time. Her latest sculpture ‘4. Use How and Why Questions’ (2019) consists of 16 sharp objects, the point of their blades pointing inwards, an oversized face of a clock with 4 too many hours. Both the new work and the ongoing series of amalgamated clocks point to the man made construct of time as well as the (ir-)relevance of time.
Simon Mathers’ new series of encaustic paintings are dedicated to transience and the irreversibility of time. This series of works are tumescent bulges that are each a moment in time that is precisely recalled. Each a representational painting of an emotional situation, these works convey the potential and trepidation of disembarking and are the artist’s nod to Japense woodcuts as much as the Fayum mummy portraits.
