Michèle Fuirer | Installation
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Installation

ConcreteCommemoration_2011
ConcreteCommemoration02_2011

Concrete Commemoration
printing on paper sack, 2011 | CGP London, Dilston Grove Centenary

Install_Speculate
Install_CurioCurious
Sculpt&Instal_SurveyRegardMo

Speculate
Mirror, lettering. One of five mirrors installed in Hanbury Street, London E1, 2002 for Curio – disrupting the tourist zone, a terra incognita visual arts project.

“[the work] encouraged the viewer to ‘speculate’, ‘spectate’, ‘survey’ and ‘regard’, linguistic terms reflecting the function of the objects themselves. (…) Looking into the convex mirror you saw yourself, the spectator’s gaze was turned back on itself, and was confronted by the idea of what it is to be looked at and evaluated.”

Richard Stemp — Where’s the Art?” Catalogue essay for CURIO: Disrupting the Tourist Zone (London: Terra Incognita, 2003). Curated by Alana Jelinek

WhatComesIn_01
WhatComesIn_02
WhatComesIn03

Inversion
Flour, oil, metal tray and trestle, 5mx46cmx5cm, 1992/95

Abstinence&Plenty01_1993
Abstinence&Plenty02_1993
Abstinence&Plenty03_1993

What Comes In At The Eye – II
Installation, moulded flour with motorised light bulb, 1993

Unheimlich03
Unheimlich01_1997

Unheimlich
Photographs, plaster tablet, shelf, 1995

GooGooEyes_1994
GooGooEyes03
GooGooEyes02_1994

Goo Goo Eyes
Flour, glass, metal, 107x50x37cm, 1994

Inversion02
Inversion01

Inversion
Flour, oil, metal tray and trestle, 5mx46cmx5cm, 1992/95

It may well be that it is a mistake to take these social metaphors too literally. Fuirer is also referring to a state of mind and the shifting play of opposites that constitutes a gendered individual. Her table is both hard and soft, liquid and solid, a container and contained by the substance of flour. The conventional attributes of a malleable, domestic femininity co-exist with the rationalism inherent in the masculine love of ordered space.

Catherine Elwes — Art Monthly Review of Solo exhibition (London: Café Gallery Projects, 1995)