Objects, which have been belonging to somebody,
get breathed into life for a second time.
Sculptural portraits of the past and presence merge.
Traces of time and transience are enclosed.
Presence and past simultaneously exist in those objects.
Fragments of reality that has been taken place.
The works of the American artist Lindsay Lawson range from image to object.
Her works examine the possibility of an objects‘ reality far from origin, usage and owner.
All images by Neven Allgeier
About Lindsay Lawson
Born in the United States and living in Berlin, Lindsay Lawson received her BFA in Sculpture from Virginia Commonwealth University, her MFA in New Genres from UCLA, and studied with Judith Hopf at the Städelschule in Frankfurt am Main. Her work spans media such as film, video, installation, photography, sculpture, performance, text, and a particular type of contractual legal agreements she called Arrangements. Her practice explores the meaning, value, histories, and presence of objects in virtual and physical spaces. Numerous recent projects investigate states of infatuation with virtual personas and both virtual and physical objects. Her first feature-length film, The Smiling Rock, was shot in Berlin and post-produced during residencies at Trinity Square Video in Toronto and 1646 in The Hague. Lawson‘s most recent project was Choreography for Crane, a large-scale performance for the 9th Berlin Biennale. She is represented by
Gillmeier Rech in Berlin.
Opening on September 15th 4PM – 8PM (duration three weeks)
VIU Flagshipstore Berlin
Potsdamer Str. 77/79