KARLA NIXON

When I first engaged with Oscar Forel’s work I felt a synergy and admiration for his ability to encapsulate profound movement within the stillness of his images. Our work connects and echo the celebration of movement and, as he termed it, ‘synchromy’ and the intentional fragmentation of form.

 

These installations draw inspiration from, and reflects on, the significance of textiles as materials and objects that create a sense of security and personal expression in our lives. With these installations, and the spaces they create, I am inviting viewers to explore the delicate balance between chaos and harmony, fragility and strength, and to give consideration to the moments where these dichotomies meet.

 

 

The central installation, composed of colored transparent plexiglass, is a dynamic visual experience. Suspended above the viewer's head, the billowing form captures a moment in time. This piece, transparent and ethereal, establishes a sanctuary, a haven where viewers are enveloped in the interplay between color and light; mimicking stained glass and evoking a ritual-like experience that invites viewers to connect with something larger than themselves.

 

The other two installations, meticulously crafted from torn and reassembled painted paper, present delicate, lace-like forms that embody the essence of fragility and deliberate reconstruction. These paper creations showcase intentional discords and harmonies in shape and color. The use of paper serves as a versatile medium, allowing the boundaries between two-dimensional and three-dimensional space to be blurred; to be painting and sculpture, collage, and textile.

 

The overarching conceptual underpinning of my art practice has evolved with lived experiences, exploring diverse themes such as middle-class white suburbia, philosophical concepts around transience, and the impact of capitalism on the concept of home. However, a common thread of space and place runs through these explorations—relating to the human urge to define and find sanctuary in.