Fineman is interested in the speed of today’s culture and how it affects the creation of new memories.
Emma Fineman’s paintings (often oil on canvas) are, quite broadly, pictorial representations of time in contemporary culture. Fineman is interested in the speed of today’s culture and how it affects the creation of new memories. It is this fractured sense of time (and the way that it is perceived) that Fineman attempts to interpret through gestural marks that, Fineman says, ‘sit somewhere between drawing and painting; between the quick note-to-self one makes in order to jot down an idea, and the more prolonged meditation on the parts of daily life that, for some unknowable reason, affix themselves to the back of one’s mind and kick about with an unnerving permanence.’ Fineman’s works certainly have a sense of both haste and permanence: bold, heavy marks seemingly being applied to the canvas with great speed–set down, perhaps, before the memory fades.
In her representations of people, too, the artist renders faces and figures as if they were dwindling visages, a memory of a memory, their solidity waning into the background and their eyes, noses and mouths–each once so defining a feature–are devolved into visual renditions of an uncertain recollection: ‘he had a long nose, thin lips, and his left eye hung lower than the other, with a heavy, drooping eyelid.’ In 1993, postmodernist philosopher Jacques Derrida devised the concept of ‘hauntology’–a term attempting to describe a state of being which cannot sit within our predefined temporal or ontological framework, represented by ‘the figure of the ghost as that which is neither present, nor absent, neither dead nor alive.' Fineman’s paintings can be said to be hauntological in a way. Memories are ghosts of events, unmarred and unaffected by time, with no physical embodiment; the act of attempting to create a visual representation of time or a memory belies their very nature. And so, instead, Fineman deftly creates works which cause us to consider time as a distinct entity–ghostly and omnipresent.
BEGIN AGAINAs society shifts, the art world shifts. We are on the cusp of change. 13 - 27 Aug 2020This is a time to stop, reflect, create dialogue, and put our words into positive action. To begin again we must shoulder each other, listen to each other, work together and collectively change together. As the newest generation of art collectors, we urge you to collect from this exhibition. The revenue made will support The Free Black University and the newest generation of artists.
to proceed to perform the first or earliest part of some action; commence; start
once more; another time; anew; in addition
With many thanks to Lotte Andersen for her continuous support throughout this exhibition, and to Pallas Citroen, Director of The Bomb Factory Art Foundation. Who is kindly providing a free gallery space as part of The Guts Prize.