Geoffrey Farmer
The Surgeon and The Photographer (detail), 2009
365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
each figure: 45 x 13 x 13 cm, courtesy: Casey Kaplan New York, Catriona Jeffries Vancouver, photo: SCOTT MASSEY
The Surgeon and The Photographer (detail), 2009
365 puppet figures, fabric, found images, metal stands, 60 wooden plinths
each figure: 45 x 13 x 13 cm, courtesy: Casey Kaplan New York, Catriona Jeffries Vancouver
I am by nature one and also many, dividing the single me into many, and even opposing them as great and small, light and dark, and in ten thousand other ways, 2001, Fabric, wig, paper, broom, courtesy Catriona Jeffries Gallery, photo : SCOTT MASSEY
Rauschenberg’s Toe, 2011
wood, battery powered LED
241.3 x 8.9 x 43.8 cm, courtesy: Casey Kaplan New York
Lost Dogs and Half-Eaten Apples, 2011
courtesy Casey Kaplan New York, photo CARY WHITTIER
Pale Fire Freedom Machine Archive, 2005-2011
puppet figures, fabric, found images, metal stands, wooden plinths
installation view, Istanbul Biennale
courtesy: Casey Kaplan New York, Catriona Jeffries Vancouver
I am by nature one and also many, dividing the single me into many, and even opposing them as great and small, light and dark, and in ten thousand other ways, 2010
light bulb, potted artificial palm tree, paper clippings from LIFE magazine, tape, text, 157.5 x 116.8 x 116.8cm
courtesy: Casey Kaplan New York, Catriona Jeffries Vancouver
Shadow and Grow, 2011
printed material, wood, metal, paint, tape, foam, plastic, fabric, cardboard, battery powered LEDs, 251.5 x 50.8 x 68.6 cm, courtesy: Casey Kaplan New York
Leaves of Grass, 2012
installation view at Documenta 13
photo: ALEXANDER FORBES
all images courtesy of the artist, and their respective galleries
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Using various media, notably sculpture, photography and sound, Vancouver-based GEOFFREY FARMER assigns his inventive approach to temporality, to the spaces of theatre, film and performance and to the workings of memory, meaning and art historical reference.
FARMER creates structures that transform and activate the gallery space and its visitors, incorporating objects (gathered by the artist from the streets of the city the work will be shown in) which are often in a state of flux. Specific literary or cinematic narratives anchor the projects, which are continually revised, altered and adapted from exhibition to exhibition, even within the same work. These multiple narratives are used to conceptually generate and contextualize the processes and materials produced, acquired and presented.
A lot happens on Farmer’s stage, but an equal amount occurs in the mind of the beholder. There is no clear storyline to follow. Rather, mental images are evoked by the environmental changes in lighting, sound and movement. – JAN VERWOERT for Frieze Magazine #147, May 2012
And good news: GEOFFREY FARMER has a forthcoming retrospective at the Vancouver Art Gallery in 2013 and his work is currently on view at Documenta 13 in Kassel, Germany until September 9, 2012.
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