Sophie Corso (SA)
March 9 2018 - April 6 2018
Personal Indifference of a Spotted Line is about the way we communicate and how our personal, unique way of interpreting our environments can construct our day-to-day activities. I am inspired by what I observe are the daily routines of life, as Margaret Atwood suggests, “In the end, we’ll all become stories.”
There is a dream I sometimes have of walking up and down an outside spiral staircase. The moon is always visible, the night still and I like to watch my feet as they climb up and down the small tower of a 1960s home. With the dashing colours of light from the speed of my feet, I narrate my own reality. Personal engagements of deconstructed urban environs, satire, chance encounters or curious sensibilities offer a playful narration. Frank O’Hara’s language and simplicity of words encapsulates these observations of the everyday; “I embraced a cloud but when I soared it rained ”
Fusing layers of research and contradictions into an image or object, inspirations vary, such as the involvement of music as a characteristic, omission of language in the moving image and everyday objects such as the floating ladder. Minimalist cinema of Mike Hodges or Alfred Hitchcock, where characters from films are seen from external or deconstructed environs, influence individual behaviours. The silhouette of Physicist Robert Oppenheimer as 2D scenery and metaphysical image of Anthony Perkins by Surrealist photographer Philippe Halsman; an artist who liked to psychoanalyze people’s jumps, reminds us of a forgotten extra in an old movie. Like in Margaret Atwood’s book The Circle Game (1964) and its emphasis on human constructs as games, literature, and love against the instability of an environment, the bumpy landing of an upright Wright glider on the ground might begin something, to narrate this reality.
After completing honours in Visual Art at the University of South Australia in 2016, emerging artist Sophie Corso practices from her Fontanelle studio at Bowden. Working across a multidisciplinary medium, she creates her works by taking on an experimental based process, whereby to keep the freedom of choice and allow for mistakes to take place. It is sometimes in these ‘mistakes’ where she discovers curious possibilities. Recent group shows have included being selected for the 2017 Prospect Portrait prize with her piece Felicity, The Suburban Version (SA) and the 2017 Hornsby Shire Exhibition (NSW). She was a finalist in the Unitcare moving image award during SALA and exhibited her first solo show at FELTspace in 2017 after receiving the FELTspace Graduate Award. Her current work at Sister Gallery has been a supported project funded by Helpmann Academy (S
Images by Christopher Arblaster.