Sarah Lundy

Lundy’s ongoing interest in systems and spaces extends to the use of moving image, the assemblage of quotidian objects and the ephemeral performance of materials in an endeavor that challenges autonomy in the face of innate systemic and applied homogenization.

This meditation on the degree of enclosure within systems is often juxtaposed starkly with single and singular items displaced and then displayed. Repetition features regularly in her practice, often manifesting itself in large-scale sculptural pieces that prompt dialogue on the systems that govern our existence. The aesthetic focus engages eloquent paradoxes of form and function, and their relationship to identity, with frequent reference to an underlying feminist perspective that prompts discourse on how meaning is constituted.

Surfaces are treated in an exploratory manner with an ocular play on relief, often working site specifically and directly with the architecture of a place to create spatial interventions. The significance of positive and negative space is an ongoing investigation in which binary opposition (natural/synthetic, form/function, positive/negative, dark/light etc) is used as a core means of comprehension, and artistic movement on the one hand, whilst exploring contradiction on the other.

Ever aware of a strong sense of The Absurd, the artist seeks to extend through this work an curious invitation to engage in alternative dialogues.