Working Space #3 (with Olivia Barrett, Château Shatto)
This is part of the artist's series Working Space, Connor’s first printmaking work featuring an experimental processes. Each print was created using a light-sensitive printing process. A crucial element of this series is the artist’s decision to invite the participation of a gallerist in the production of each print. By allowing the participant to compose a pictorial frame for these transparent black ink tracings of everyday objects and other ephemeral material, Connor draws attention to the frequently obscured and discreet communication between a gallerist and an artist.
The resulting image of this collaboration operates as an index of exchange, affinity and artistic rapport; it functions as both an aesthetic object and a record of a discreet process, while still resisting any definitive interpretation. The artist playfully obscures this work's legibility, exploring the role of translation in documentation and memory. Like Connor's sculptural work, it challenges viewers familiarity with everyday objects and images while animating the formal, social and psychological properties of our shared environment. This work also hints at Connor's interest in decentralized communication, such as bulletin boards.
Fiona Connor’s sculpture and works on paper reproduce everyday objects in ways that newly animate their formal, social and psychological properties. Her work unsettles everyday objects and challenge viewer's over-familiarity—as well as their passive acceptance—of their environment. Avoiding the clinical or arcane, Connor’s practice includes space for both intimacy and anonymity.
Fiona Connor was born in Auckland, New Zealand in 1981. She received a Bachelor’s degree from the University of Auckland in Auckland, New Zealand and a MFA from the California Institute for the Arts in Santa Clarita, California.
Solo exhibitions of Connor’s work have taken place at: Fine Arts in Sydney, Australia (2020); SculptureCenter in New York City (2019); Secession in Vienna, Austria (2019); MAK Center for Art and Architecture in Los Angeles, California (2018); and Govett-Brewster Art Gallery in New Plymouth, New Zealand (2018).
Group exhibitions that have shown Connor’s work have taken place at Kunsthal Extra City in Antwerp, Belgium (2020); the Hammer Museum in Los Angeles, California (2019, 2012); Henry Art Gallery in Seattle, Washington (2019); the Institute of Modern Art in Brisbane, Australia (2019); Armory Center for the Arts in Los Angeles, California (2019); and 500 Capp Street/David Ireland House in San Francisco, California (2018).
Connor’s work is included in the following collections: Adam Art Gallery at Victoria University in Wellington, New Zealand; Art Gallery of New South Wales in Sydney, Australia; Auckland Art Gallery in Auckland, New Zealand; Burger Collection in Hong Kong, China; Chartwell Collection in Auckland, New Zealand; Christchurch Art Gallery Te Puna o Waiwhetū in Christchurch, New Zealand; Collezione La Gaia in Torino, Italy; Dunedin Public Art Gallery in Dunedin, New Zealand; Govett-Brewster Art Gallery in New Plymouth, New Zealand; the Hammer Museum in Los Angeles, California; Henry Art Gallery at the University of Washington in Seattle, Washington; the Monash University Museum of Art in Melbourne, Australia; the Museum of Contemporary Art in Los Angeles, California; and the Museum of New Zealand Te Papa Tongarewa in Wellington, New Zealand.
This print was created using a light-sensitive printing process. The artist invited a gallerist to compose a pictorial frame for the artist's transparent tracings in black ink of everyday objects. The resulting image highlights the rapport between artist and gallerist.More
- Edition 1 of 1