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Penny Slinger featured in “Room” at Mead Gallery, Warwick

Room

Mead Gallery – Warwick Arts Centre
 / University of Warwick


Exhibition Opening Party: Friday 05 May, 7 – 8.30pm

Exhibition: May 6 –  June 24,  2017

“Room” is an exhibition of installations, sculptures and photographs by international women artists, which variously explore ideas around architecture and the domestic environment – historically perceived as a female sphere of activity. Curated by Laura Lord from Sadie Coles HQ, London, Room reflects the multiple, often concurrent, meanings and functions of the room. It represents work produced from the 1970s to present day, which envisage the room as an erotically charged or psychological space alongside pieces which emphasize the structural or aesthetic properties of interior space.

Penny Slinger’s work was previously showcased at Sadie Coles, and will be shown at Mead alongside work by Louise Bourgeois, Beverly Buchanan, Heidi Bucher, Marvin Gaye Chetwynd, Nan Goldin, Klara Lidén, Hilary Lloyd, Sarah Lucas, Joanna Piotrowska, Andra Ursuta, and Francesca Woodman.

Penny Slinger is a surrealist artist in the truest sense. Her collaged images often incorporate duplicated and modified cut outs of her own body in various states of undress, placed alongside and in tandem with abstracted sculptural representations of Classical icons like Medusa, surgical cut outs of archived insect corpses, and men to whom she is wed, to reinterpret numerous aspects of femininity and womanhood in relation to canonical forms of storytelling and mythological tropes.

Her work explores the primacy of intimacy, gender, femininity, and gothic elements of horror in relation to these narrative devices to suggest the evolution of women’s subjectivity and gender roles through time, scientific developments, literature and in various geographical realms, and to redefine her own position within these narrative constraints as both the object of study and primary agent within these imaginative worlds.

Through collage, Slinger suggests that identity–and feminine identity in particular–is always in the process of becoming, and as such is liable to distortion and manipulation by the discursive mechanisms available, and the artist’s individual perspective and vision. Through her skillful reinterpretations of fable, mythology and history, Slinger’s work is both incisively critical and romantic, immersing the viewer in this process of becoming, as Slinger opens space for women to be seen as authors of their own lives, experiences and stories.

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