jenine marsh
       projects
       images


   Stranger to Stranger, 2013



Temperance, 2013

Composure, 2013

Composure, 2013

Composure, 2013

Composure, 2013



Scarecrow, 2013

Scarecrow, 2013

Portrait, 2013

The Smokers, 2013

The Smokers, 2013

The Smokers, 2013

The Smokers, 2013

The Smokers, 2013



Diz, 2013


        
Stranger to Stranger
COOPER COLE
Toronto
September 14 - October 14, 2013


COOPER COLE GALLERY

Temperance, 2013. Pine moulding, wood filler, wood glue.
Composure, 2013. Mixed media on plaster, concrete, air dry clay.
Scarecrow, 2013. Flowers, synthetic rubber, steel, garbage can.
Portrait, 2013. Cardboard, plastic tarp, contact cement, latex paint.
The Smokers, 2014. Latex on drywall and wood.
Diz, 2013. Flowers, latex, spray paint.

        

Double blind. Mutant mallow smashed and squashed, then toasted until edges curl, blackened. Soggy flap. Fastened, taped, snapped shut, pinched
ears and eyelids stuck fast. A mouth pinched into a puckering mask. Face forward. An ‘O’ pulled into an intestinal snake. Stacked and sliced.
Hand-rolled stripes. Sitting sidelong. Shoe-bottom snowman scraped free and stretched into pocked, concrete skin. Racy fins. Rock face painted
shut with diving board. Matchstick carton camp. Simpering lime. Polite hug.

Jenine Marsh has an interest in sudden stranger-to-stranger encounters, whether person-toperson, or materi- ally, thing-to-thing. Those
peering, wary, knee-jerk, face-to-face reactions when mutual unfamiliarity is followed by the silent mechanics of sizing up the other. Even
when sense is made, constructed, or reassembled by pulling a shared language out of seemingly thin air, what is unquestionably me, you, this,
and that, remains ambiguous and strange. At the intersection of this stumbling, hit-or-miss improvisation of language and the similarly stop-
and-start, baffled, burst of decision-making via the studio is where Marsh’s recent work begins.

Marsh’s frontal, facially-oriented facades seem to mimic those nerve-wracking blank spaces where one fumbles to connect with the other. What
seems empty, blank-faced, wafer-thin, and trivial are interchangeable with temperature, tone, and half-formed (imagined) recognition. Strings
of words are provisional bodies. Material action mimics action in speech. What seems to stick falls flat as perspective shifts.

Physical integrity is elusive and false: a slipped ‘tongue’ sneers independent of its ‘mouth’; a stack of limp, glazed-over sight-lines have no cause
to see or feel their shared cylindrical ‘heads’; the mere flip and shift of a mantis-haunch pits prolapse against preen. To speak to, to read with,
to speak of... No matter who encounters who via this face-to-face, stranger-to-stranger transmission, someone (or something) is changed.

The matter at hand matters elsewhere. Head, face, mind, ear, entrances and exits are mutually in pieces. Easily rolled up and folded neatly,
then smoothed flat, creaking.
-Kim Neudorf