JUXTAPOZ – Grace Lee: Love & Theft @ Huxley -Parlour, London

Hoksley Perler I am pleased with the present Love and theft, A new single exhibition by Grace Lee. For their second individual exhibition with the exhibition, the artist returns to a busy loss and control of a set of new small paintings that move in the objective and conceptual tensions of the archive.

Cultural icons are assembled with personal dates, images are uploaded from books, evidence, film posters, ads and images that are collected digitally before collecting and amplifying them, and reshaping them through communication and connection. The result is a graphic similarity, but it is characterized by the simplicity of the graphic information, the tracking line, shape and tone.

In this new set of work, the continuous absence is hinting to a state of faces, things and the novel about the strength and ambiguity of the proposal, which challenges the objectivity that we may link to the practice of the archive, especially in the digital age. In my work, the priority of objectivity, what Hannah Turner describes, in the culture of indexing her book, sarcastically “assuming health and reverence over the possibilities of integrity, all science”, in contrast to the shadows and shapes that are more than things, and backgrounds to a more approach, along with the small scale, flowing almost.

This is just one of the tensions that are affiliated with the conceptual fabric of the work, which simultaneously derives and maintains the boundary between the public and the private and its preservation, as well as issues of ownership, identity and desire. There is an idol quality for two stylistic competing works that framing the installation, and discusses cinematic images of a gun, which acts as innate stone, defect, defect, and loving. The archive specialist Jin Shapilland also writes in her article, “gain it, collect it, steal it, preserve it, preserve it, preserve it, store it, make it, know it, hold it, and wear it, but there is nothing to keep it.”