Dr Lisa Anderson's exhibition explores the relationship between the decadence of society and the crumbling social mores within the composition of place.
The specific sites are drawn together by elements of light and shadow, strands of destruction and the crumbling of beauty. These works reveal what is left behind of the structure of beauty after decadence has had its way.
The lonely chair and wallpaper of the Lost diptych is located in a long abandoned fur traders hut in an isolated island in the North West Passage of the High Arctic. The chair and once colorful wallpapers tell of the past comforts and profitability of the Hudson Bay fur traders. It also reminds us of the complete
isolation, cold and loneliness found on a frozen rock on a remote edge of the earth. The chair has rotted, been torn by polar bears, and molded. The rusted framework and springs disgorged. The weather will very gradually return it to dust.
Lost: Dan Maclean was a mark of desperate ownership of space and located in a time, now lost in a place that was once sanctuary and now is any place, anywhere.
Lost: The Elgin Marbles are luminous things, stolen, much sought after, traded, and constantly in a
state of not belonging. They too are lost and broken remains of something of beauty with the sexualized forms of body perfection. They crumble alongside the story of their political presence in a Museum faraway from their home.
The pink clouds of Neon Clouds are part of the ideograms of the Middle Kingdom and have moved with the modernization of China through many periods. They are found within the decorations of the Forbidden Palace and woven into the fabric of public furnishings. They are the weather, they are pattern,
they are a symbol of nature and dreams. They cut at the architecture measuring the weathered surfaces of time.