![]() ‘Scott Ludlam’s Full Circle ranges very far in space and time – the story stretches over hundreds of millions of years and every inch of our planet. And he finds that we are at a unique moment when billions of tiny actions by individuals and small groups are coalescing into one great movement that could transform history.īringing together a wealth of new ideas, Full Circle outlines a new ecological politics. He takes the reader on a journey through time to discover the underlying patterns of life. He travels the globe to see what happens when ordinary people stand up to corporations and tyrants. ![]() In Full Circle, Ludlam seeks old and new ways to make our systems humane, regenerative and more in tune with nature. Ludlam shines a light on the bankruptcy of the financial and political systems that have led us here: systems based on the exploitation of the earth’s resources, and 99 per cent of the world’s population labouring for the wealth of 1 per cent. We are now in the Anthropocene – humans are changing the earth’s climate irreversibly, and political, human and natural systems are on the cusp of collapse. One way or another, we are headed for radical change. The energy created hand in hand, shoulder to shoulder falls into a cyclical rhythm that harmonizes with the turn of the seasons and the natural laws that govern the universe.Scott Ludlam draws on his experience as a senator and activist to capture our world on a precipice and explore what comes next. Made by hand independently or in collaboration with local craftsmen, these objects reflect Tarasewicz’s laudatory view of physical work in an increasingly automated world. The spinning spheres, the shapes that taper into a human limb, refer to a collective spirit of work and the power vested in community – albeit a power subjugated by the course of the pandemic over recent months. The elements in these pieces are multiplicitous and cumulative. These new forms are human-like: with discernable heads, shoulders, four-fingered hands. And yet, these figures are more machine-like than hu- man. Tarasewicz has returned, after a number of years, to the meta- phor of the body. In Full Circle Ahead! we also enter the circular realm of cycles with yet another sort of encounter. The piece presents a diagram of an encounter that has been transplanted into the realm of digits and geometric forms. The multiplicity of meanings held by the figure of a circle or sphere can be found in Tarasewicz’s works, for instance, in her sculpture Flowing in Waves Towards Equilibrium, which currently floats above the staircase at the Zachęta – National Gallery of Art in Warsaw. The whirring parts – if we look at them schematically – are reminiscent of the work of machines or even celestial bodies in transit. Pairs of dancers are arranged in a circle, simultaneously spinning around their own axes as they travel the circumference. Over the past few years, she has been exploring the mazurka, a style of folk dancing rooted in the physical movements of life in the countryside. ![]() This rural context is evident in her practice and the materials she uses, and directly reflected in her sculptures, installations and drawings. Surrounded by farm animals and fowl, and old farming equipment that her grandparents once operated, her life is directly linked to the natural world and its seasonal rhythms. Iza Tarasewicz lives and works on her family farm in Kolonia Koplany, a village in the Podlasie region of eastern Poland. ![]()
0 Comments
Leave a Reply. |