Zoe Schoenherr investigates how the materiality and structure of the built environment choreographs individual movement. This research reflects upon how her body related to equipment in gymnastics. She continuously depicts a familiar transitional space and refers to the notion of buildings functioning as a seamless series of equipment
This analysis considers the body/building relationship as symbiotic. In relation to her work, the sculpture Canon, for example, consists of a tall, heavy piece of reclaimed wood that is re-contextualised through a gentle, physical interaction with the viewer. An emotional response is triggered as the spectator delicately pushes the centre of the wood to create a steady, rocking movement with a rhythm that alters over time. Indicative of her practice, this work is grounded both by its anthropomorphic qualities and how manual movement reflects human repetitive activity.
Schoenherr’s sculptures are informed by, Pilates and gymnastics equipment and modernist architecture, (particularly Rudolph Schindler). She references, choreographer Pina Bausch’s notion of the body as a moving brush-mark framed by place, and utilizies hand-made processes and a minimal aesthetic. When theorising about the psychological impact of place she has cited Jorge Borges’ Fune the Memorious and Charlotte Perkin Gilman’s story The Yellow Wallpaper.
The Foundry Gallery
Private Viewing 6th June 2013
7th June - 18th July
PART ONE: Overt Exchange
26th July - 25th August 2013
Qatar 18th November 2013
Please email me if you would like to discuss commissions firstname.lastname@example.org