In this large drawing/installation Ilze explores the convergence of sculpture, drawing and painting. The work is site specific, animating the gallery space using a particular vocabulary of marks, each mark a strip of masking tape. Each gesture, each mark is contingent, as the work finds it’s shape in the site and responds to the specific demands of the space.
In Migration Ilze poses the possibility of drawing as a multi- dimensional act, sliding into sculpture as it moves into three-dimensional space, holding the space as a container of the work. In this sense, the installation is performative, a kind of slippage from one way of being into another, essentially provisional, held by the real-time duration of the exhibition. Migration is equally an encounter with everyday stuff, the cheap and cheerful DIY materials that are part of the endless cycle of consumption. The hundreds of small pieces of tape applied individually to the wall echo the repetitive labour of industrial production. Masking tape, humble, limited and usually the handmaid to higher purposes, takes on a Cinderella role in this work transformed into something else. But this same misappropriation allows the work to become an interrogation of the aesthetics of mass production. The work is seen as a détournement, a kind of improvisation and jamming, highjacking the closed and endless loop of production and consumption. While the gesture and form of the work loosely recalls the natural world, the strident, high chroma colours of the masking tape make it an uneasy reference, one that is a little too cheerful, a little too exuberant.
As an artist, Ilze is endlessly curious about the tensions formed by our continued romance with a constructed natural world set against the experience of life in the anthropocene era. Migration shows itself as a hybrid that shamelessly courts ideas of beauty, but equally exposes its round heels.
For more images and information about Ilze Bebris visit www.ilzebebris.com.