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Lulu se complace en presentar la exposición individual de la artista canadiense, residente en Toronto, Jenine Marsh. 

Básicamente, Jenine Marsh hace escultura, lo cual es, para citar al poeta Americano Ted Berrigan, “feminine marvelous and tough” (femenino maravilloso y fuerte). Trabajando con variedad de materiales, que incluye yeso, arcilla, cemento, caucho sintético y metales, ella guarda en su producción un espacio especial para las flores. En efecto, se presentan en su trabajo como unidades léxicas, imágenes, índices y materiales altamente texturados. Marsh está interesada en la multitud de contradicciones que las flores son responsables de abarcar. A pesar de su presunta banalidad e ingenuidad, las flores son, como símbolo y como materia, inagotables. Objetos de candor, también se reconoce en ellas una oculta y descontrolada polisemia, mientras desde la historia del arte, son indisociables del memento mori y de algunas nociones de lo llamado feminidad. Es por estas razones que Marsh está particularmente atraída hacia margaritas y crisantemos por virtud de su simplicidad y durabilidad, por su dureza. 

Para su exhibición en Lulu, la artista se enfoca en este aspecto de su práctica escultórica, trabajando exclusivamente con margaritas y crisantemos. Ha reunido una gran cantidad de estos dos tipos de flores y las ha sometido a un tratamiento en el cual ella las masajea y satura de caucho sintético. Así, su descomposición se ve por poco interrumpida y ellas acceden a un estado que es orgánico e inorgánico, vivo y muerto. Luego de su tratamiento, las flores son allanadas a mano y puestas cuidadosamente sobre el suelo y las paredes de Lulu, como si buscaran unirse ellas mismas con su superficie mientras estas se activan con una cierta cualidad háptica. Enmarcada por un resplandeciente piso verde claro, esta singular y unificada instalación de hipérboles florales, germina hacia un gesto de entendimiento material y simbólico. 

Jenine Marsh (1984) es una artista radicada en Toronto, Canadá. Una selección de exposiciones individuales recientes incluye: Feral Tongue, Chapter 61, Nueva York (2015); The cut flower still blooms, 8-11, Toronto (2015). Sus exposiciones colectivas incluyen: Mrs. Benway, Fourteen30 Contemporary, Portland OR (2015); What she is not, what she is, what she can be, Exposición colectiva en el Garden Avenue, Toronto (2015); Road to Ruin, Cooper Cole Gallery, Toronto (2015); The Lulennial: A Slight Gestuary, Lulu, Ciudad de Mexico (2015).

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Lulu is pleased to present a solo exhibition of the Toronto-based, Canadian artist Jenine Marsh. 

Jenine Marsh basically makes sculpture, which is, to borrow a phrase from the American poet Ted Berrigan “feminine marvelous and tough”. Working with a variety of materials, including plaster, clay, concrete, synthetic rubber, and metals, she reserves a special place for flowers in her production. Indeed, they are known to function as lexical units, images, indexes and highly-textured materials in what she does. She is interested in the multitude of contradictions that they are liable to contain. For all their alleged clichés-ness and naiveté, they are both as a material and a symbol in fact inexhaustible. Objects of candor, they are also known to conceal an unwieldy polysemy, while being art historically indissociable from the memento mori and certain received notions of so-called femininity. It is for these as well as practical reasons that Marsh is particularly drawn to daisies and mums by virtue of their simplicity and durability, their toughness. 

For her exhibition at Lulu, the artist focuses on this aspect of her sculptural practice, working exclusively with daisies and mums. She has gathered together a great quantity of the two different kinds of flowers and subjected them to a treatment in which she massages them and saturates them in synthetic rubber. As such, their decomposition is all but arrested and they are made to enter a state that is at once organic and inorganic, living and dead. After this treatment, the flowers are flattened by hand and applied to the floor and walls of Lulu, as if seeking to the wed themselves to its surfaces while activating those surfaces with a certain haptic quality. Framed by a shinny, light green floor, this single, unified installation of floral hyperbole blossoms into a gesture of material and symbolic understatement. 

Jenine Marsh (b. 1984) is an artist based in Toronto, Canada. A selection of recent solo exhibitions includes: Feral Tongue, Chapter 61, New York (2015); The cut flower still blooms, 8-11, Toronto (2015). Group exhibitions include: Mrs. Benway, Fourteen30 Contemporary, Portland OR (2015); What she is not, what she is, what she can be, Group exhibition at Garden Avenue, Toronto (2015); Road to Ruin, Cooper Cole Gallery, Toronto (2015); The Lulennial: A Slight Gestuary, Lulu, Mexico City (2015). 

Prensa / Press

Excelsior 6/12, 2015

Artviewer 9/12, 2015

Dailylazy 12, 2015

Artnews 11/12, 2015

Terremoto 20/1, 2016

Contemporary Art Daily 22/1, 2016

Mousse 25/1, 2016