A push and pull of surface, a line that ends at an edge.
Both Lacey’s and Meyer’s works play with a box as a starting point, boxes are compressed by the body crumpled into new forms and preserved; encapsulated in pigments and resins. Boxes contain drawings which are constricted by the dimensions of the form, created by the movement of that box through space. These actions walk a fine line between control and uncertainty, employing a definitive action that creates an unpredictable reaction.
Lacey’s sculptural work is based in Minimalism, which tends to be the austere aesthetic of choice for the spaces where life/world changing decisions are made by men in power. This work subverts the edges of hard-edged minimalism, denying it the chance to be utilised in male-centric power structures. Simple store bought ready-made cardboard boxes are taped together and crushed by the weight of her body, an action that is at once playful, cathartic or aggressive.
Meyer’s lineworks layer topographies, creating maps of both contour and the incidental marks made by simple drawing devices placed in boxes and transported to their destination via the postal service or by car. Constrained by the dimensions of the box and the length of the journey the lines drawn are a literal translation of that space and time; the drawing is documentation of its own creation.
More images can be seen at artsdiary.co.nz