Project Room #12
None of these artists can be called a sculptress; each one uses the artistic medium within a multidisciplinary practice, expanding the definition of sculpture itself. Not treating it as a result but as a process, sculpture becomes a tool for building spatial environments of various kinds. The 2019 Project Rooms deal with issues of contemporary life and socio-cultural phenomena such as misogyny, apocalypse and national identity.
Rebecca Ackroyd (1987, UK), is a multifaceted artist that encompasses sculpture, drawing, architecture and writing, blends the brutality of the urban environment with the oneiric world. She usually erects derelict spaces, imbued with real contexts, recovering the role of the abandoned as a way of raising awareness and consciousness to the forgotten. Without directly referencing melancholia, these architectural structures embody some kind of primordial feelings and generate in the viewer a sense of impotence that makes him/her circuit in a state of wondering, questioning his/her role in society and the implications of the current political situation.
For her first exhibition in Milan, Underfoot, the London based artist presents a new large-installation which takes over the entire space of the Fondazione Arnaldo Pomodoro and a new series of drawings and sculptures. By showing the artworks inside a walk-in polytunnel, a structure typically used for controlled gardening, she designs an enveloping site suspended between daydreaming and reality.
At a time when a looming global climate crisis threatens life on Earth, her attention turns to the construction of a more blended definition of home, which embodies several paradoxes of today’s society, echoing domestic life, 70s counterculture, and plantation, allowing a deeper reflection on national identity, the logic of home and belonging and processes of growth.
Underfoot simulates a post-apocalyptic world which projects the viewer in a possible future outcome.