all images:
installation views and works from Haus der Braut at VI, VII, Oslo
courtesy of VI, VII, Oslo

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I’m gnawing the pencil, rearranging the desk, perspiring, perspiring, and at some point I realise I need to be more relaxed, permeable even; things are very close at hand; fey little office doodles, shop fronts, stickers I collected as child. In flow of my work, they’re extracted ready-mades. There is another aspect, it involves specialist processes and manufacturing techniques, searching these out is like making a kind of pilgrimage. You end up on the periphery of cities, in the bleaker of industrial estates, the companies around are called Velopex and Proformer and they don’t care a bit about you. –ELOISE HAWSER for ( n d ks )

Born in 1985 in London, ELOISE HAWSER received a BFA from Oxford University just before moving to Frankfurt where she studied at the Städelschule in TOBIAS REHBERGER‘s class.

Her sculptural practice is deeply concerned with the way things are made, and draws on a wide range of references, materials and processes that make up our industrial environment. For her current exhibition at VI, VII, Oslo entitled Haus der Braut (House of Brides), the works have evolved from a larger piece of sculpture, a detached roller door, pulled straight out of the high street: I had a kind of fantasy to turn it into a crude metallic sea, the interlocking slats are wave- like and rhythmic. Then there is a rosette helix pattern that she has extracted from the profile of roller door slats and that is rearticulated in several works, including silkscreen prints and a textile created on an industrial loom.

Intrigue to learn how roller doors are constructed reveal that each unit is composed of interlocking slats with scroll-like details that appear to be crafted and articulated by hand in an otherwise industrial process of production, lending them personal character that complicates their universality, and evokes physical and cultural intimacies between maker and object.

(…) The relations suggested by roller doors, between industrial forms with handmade touches, and an economy form of protection are at the crux of several new works by HAWSER that consider skins, industrial seduction and display, as well as legal and domestic terms of intimacy, physical constitutions, and the antiquated term ‘husband, ’ in relation to sculpture.

➝ Haus der Braut by ELOISE HAWSER is running through March 1, 2013 at VI, VII, Oslo

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