Hamish Morrison Galerie is delighted to announce its third exhibition by the Spanish artist Nuria Fuster (*1978). The exhibition features new sculptures, photography and works on paper.
For several years Fuster has been assembling chaotic graceful sculptures of found everyday objects, discarded by a society too busy and no longer capable of fixing or restoring them. In a barrage of objects, colours and textures, once-loved beds, clothes, cupboards and broken doorways are brought together to begin a new existence, both familiar yet fresh and surprising.
Within her assemblages, Fuster explores and kneads the small spaces between the separate worlds of brutality and elegance, chaos and order, functionality and dysfunctionality, generating new connections with different "words". Various dialogues ensue between the pictorial experiences, the physical qualities of the materials she uses and the meaning these objects play in her domestic surroundings and within society.
"To observe the rawness of a surface, its nature, its complexity, an infinity of invisible creases crowded into an apparent smooth and slippery plane, is a metaphor for the vastness of the reality faced by humans." (N. Fuster) Fuster’s choice of materials is directly related to the knowledge of the material and its ability to change and also its ability to change our perception.
"Beuys’ sculpture opened the concept of the pure construction of human thought. From there it is possible to create sculpture in infinitely different ways. My works explore other ways of practicing sculpture and my love of materiality. The materials are the protagonists and as such, define the result." (N. Fuster)
Recently Fuster has begun utilising elements such as wind and heat, subjecting her materials to "accidental" actions in a process beyond her control. For Fuster, what constitute these sculptures are not only the physical materials, but also the air and the altered position in space. This philosophy is also echoed in her new series of graphic works entitled Planarios. These images are the result of scanning three-dimensional objects. The scanner records the edge and any direct contact with the screen but is also able to record the air and the light which interferes with the volume of the object. This third dimension is flattened by the same image plane, condensing three dimensions into two, but the air, unfocused parts, light and height remain. As such the piece does not abandon its sculptural nature.
Fuster’s oeuvre conflates abstract painting, photography and sculpture. Challenging our notions of traditional sculpture she opens a vast realm of possibilities that makes the idea of someone melting a menhir not as improbable as it first seems.
Nuria Fuster was born in 1978 and since 2012 has been based in Berlin. She studied Fine Arts in Rome and Madrid and has completed her PhD. She has participated in numerous exhibitions in Spain as well as internationally, in Germany, France, Italy and the United States. She is a scholar of the Fundación Marcelino Botín. Her work is included in numerous catalogues, and featured in Francesca Gavin’s 100 New Artists book published in 2011.