Catharina Bond, Kenji Lim NEVERAFTER
Catharina Bond, Sights of Friction, 2019 © Catharina Bond
Narratives have a past, a present, and a future. Artists Catharina Bond and Kenji Lim use the idea of narrative, or lack of narrative, to create work that sits eerily and uncannily in the space of the present. Their practices revolve around repetition, and the underlying perception of realities that can be shifted by it, evoking worlds that are at once familiar and strange.
Kenji Lim’s evocative, large scale canvases are rooted in landscape and storytelling, in the relationship between what is and what was, or what might have been. Growing up as a mixed race child in a rural Britain, on the border between England and Wales, he is especially interested in the pressing issues of land, borders and belonging, and the building of narratives around landscapes and environments. What is a connection to place? Who can tell the stories that enable that connection? The artist reflects on the uncanny repetition of these stories over time, returning through history, folklore, and mythology. The stories we choose to tell and how we relate to them matters. They survive and are remembered if they are retold. They survive in a time when history does not.
Catharina Bond’s sculptures look to an erasure of narrative. They are objects without a grounding in their past or present. Instead they look to the viewer for a physically engaged response to their presentness and senselessness. In this lack of history or future, their uncanny nature is revealed. With this approach she responds to the current political and social insecurity that is fueling the uprising of radical attitudes. Utterly ridiculous in appearance, utterly serious in content.