woocommerce-shipping-per-product domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /var/www/staging.esse.ca/htdocs/wp-includes/functions.php on line 6131complianz-gdpr domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /var/www/staging.esse.ca/htdocs/wp-includes/functions.php on line 6131\nTo describe Out of Body <\/em>as a smattering of limbs and organs would be both accurate and unsatisfactory. Indeed, the works might be titled Eyes<\/em>, Arms<\/em>, Thighs <\/em>and Lungs <\/em>but they exist as a whole from which no one element could be severed. There is a curatorial unity to the exhibition \u2014 orchestrated by the artist \u2014 which lends it the cohesive character of an installation, a body of work as well as a metaphorical human body. <\/pre>\n\n\n\nYet this human body is not represented in any kind of figurative manner. There is, rather, an absence of the body, a suggestion of the incarnated presence of the artist, as the work bears the trace of her own physicality and its relationship to materials. \u201cThe work is me,\u201d Channer says, \u201cbreathing, feeling and thinking with, through, and as part of, the processes and materials that make up the industrial world that I live in and that constitute my work.\u201d <\/p>\n\n\n\n
Cold Metal Body<\/em>, a large distorted digital print of stone-carved drap-ery, illustrates this indivisibility. The stone rendition of fabric, itself printed on heavy cr\u00eape de chine strung from the ceiling, is so manipulated as to be abstract, leaving the interpretation open to the viewer. Engaging with Cold Metal Body <\/em>requires a certain movement of the body, a stretching up and stepping back that assigns to the viewer the responsibility to perform part of the work. The more one moves around the hanging structure, the more it reveals itself: at the back of the piece is the black imprint of a ghostly arm. Reasserting this synergy between body and work with a touch of humour, Channer peppered her sculptures with such traces of herself \u2014 almost signatures. <\/p>\n\n\n\n
The artist\u2019s masterful permutation of materials is also present in Amphibians <\/em>and Reptiles<\/em>, two structures of mirror-polished stainless steel, cast aluminium, marble and… tights. The reflective semi-circular shapes of these works undulate off the floor, as if arrested mid-slither. They first appear to be machined into hard, shiny perfection, but uncanny elements soon emerge to disrupt the smoothness: hand-carved irregularities in the marble columns and aluminium casts of tights curved as if they were crawling, their deflated shape evoking the human presence that activates the machine of industrial production, vulnerable yet essential. <\/p>\n\n\n\n
At times, Channer\u2019s work is reminiscent of that of Eva Hesse or Barbara Hepworth, yet she creates a tension that is both compelling and unique. The play between the figurative and the abstract, between per-sonal experience and cultural references and between the handcrafted and the manufactured is at the heart of Out of Body<\/em>. It makes a potent case for the body redefining the world beyond the reach of the human mind. <\/p>\n