jenine marsh
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   "Can't you hear my voices?" 2017.

Her navel, insecured, 2017







Her navel, spare, 2017



Speak easy; listen hard; drank up, consumed, 2017







Her navel, deviated, 2017

Her navel, relieved, 2017



coins and tokens, 2017














        
"Can't you hear my voices?"
Jenine Marsh and James Lewis
Rupert, Vilnius LT
February 2017


Artists James Lewis (UK) and Jenine Marsh (CA) will present new sculptural
works made during their February residency at Rupert. These new forms appear
as approximately similar to themselves, forming extensions between the
tangled hierarchies of language and expression embodied within specific
material surfaces.


“People” are silhouettes that are both imprecise and singular­ized, faint
outlines of voices, patterns of comportment, sketches of affects, not the
anonymous chatter of the “public domain.” But what is an affect, if not each
time a sketch? A comportment, if not each time a pattern? A voice, if not
each time a faint outline? What is a singularity, if not each time its “own”
clearing, its “own” im­minence, the imminence of a “propriety” or propriety
itself as im­minence, always touched upon, always lightly touched: revealing
itself beside, always beside. (“Beside himself” [“à côté de ses pompes”],
as the saying goes.)


Jean-Luc Nancy, Being Singular Plural.


Her navel, insecured, 2017. Air dry clay, acrylic varnish, silver ink.
Her navel, deviated, 2017. Air dry clay, acrylic varnish, silver ink, silicone.
Her navel, relieved, 2017. Air dry clay, acrylic varnish, silver ink, silicone.
Her navel, spare, 2017. Air dry clay, acrylic varnish, silver ink, silicone.
Speak easy; listen hard; drank up, consumed, 2017. Slumped beer bottles.
coins and tokens, 2017. Open series of coins and tokens, various currencies, some pressed by trains on train tracks.