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OBJECTS MUST BE COMFORTABLE
A Solo Exhibition of Ana Maria Micu Dates | 29 June - 19 August 2021 Venue | Mind Set Art Center: 7F, No.180, Sec. 1, Heping E. Rd., Da'an Dist., Taipei City 106, Taiwan www.art-msac.com The Easy Way to Heal Yourself by Ana Maria Micu is an NFT animation launched in congruence with the show's concept. It describes a step-by-step metaphoric and magical solution on how to heal a person, the same way we would mend a broken object. |
The exhibition combines older paintings with new works and mediums. Two digital observational drawings are printed as serigraphy series. Insisting on documenting the drawing process in a convoluted manner, Micu gathers visual material for a stop-motion animation and invites two other artists, Alexandra and Radu Constantinescu, to contribute with a concept of their own. The collaborative short film creates an entry point into Micu’s over-individualistic world.
The theme is the relationship one develops with the immediate surroundings. In solitude, the interest in ergonomic practices eventually ends up shifting towards animism. Objects gain conscious life, which requires us to make sure they sit comfortably at all times. What is wobbly, should be somehow supported. Things that scratch each other should be cushioned. What is hanged, should be secured for a larger weight. Fabric creases can be caressed and smoothen. The rules are dictated by the blindness of selfhood and the disentanglements of practicality. Once implemented, they generate an aesthetic.
By exercising this, you also see very clearly that everything has to be handled carefully, but it is not enough. True care needs a feedback loop. You have to transform your environment into a living organism and tether yourself from it, as one of the vital components. Each part is aware of neighboring parts and validation circulates back and forth. There is continuous change through incremental and often improvised adjustments.
For the art practitioner, nothing is more stringent than the dilemma of how comfortable your model truly is. In this respect, when engaged with observing life, the shy, considerate, and inquisitive artist refrains from looking at anything else except within.
The theme is the relationship one develops with the immediate surroundings. In solitude, the interest in ergonomic practices eventually ends up shifting towards animism. Objects gain conscious life, which requires us to make sure they sit comfortably at all times. What is wobbly, should be somehow supported. Things that scratch each other should be cushioned. What is hanged, should be secured for a larger weight. Fabric creases can be caressed and smoothen. The rules are dictated by the blindness of selfhood and the disentanglements of practicality. Once implemented, they generate an aesthetic.
By exercising this, you also see very clearly that everything has to be handled carefully, but it is not enough. True care needs a feedback loop. You have to transform your environment into a living organism and tether yourself from it, as one of the vital components. Each part is aware of neighboring parts and validation circulates back and forth. There is continuous change through incremental and often improvised adjustments.
For the art practitioner, nothing is more stringent than the dilemma of how comfortable your model truly is. In this respect, when engaged with observing life, the shy, considerate, and inquisitive artist refrains from looking at anything else except within.