Livia Marin is a Chilean born, London based artist who has a fascination with everyday objects, and by collecting symmetric or abstract objects she combines them until they are no longer identifiable as objects. Her work encompasses large scale installations and mass produced consumer objects. Her work flirts with already existing objects. Marin looks for identity between objects that look the same and a sense of repetition. By collecting things when they are in their afterlife she looks at how do we relate to an object once it is broken, the care and loss of an object. By using techniques and strategies that are usually associated with sculpture and installation to explore the nature of how we relate to material objects.
‘Nomad Patterns’ is a collection of pieces consisting of ceramic: cups vases and teapots that appear to melt into puddles and yet manage to retain their original pattern. Despite the process the elaborate pattern stayed intact. The artist explains that the objects appear to be presented somehow indeterminately between something that is about to collapse or has just been restored; between things that have been invested with the attention of care but also have the appearance of a ruin.
By giving new life to the objects Marin magnifies their importance. Breathing new life into her ceramics. The eye is drawn the sharp breaks in the objects that is softened by the aesthetically pleasing smooth ‘melted’ sides. The harsh cracks in the delicate china is contrasting. China has great connotations to wealth and class. China is often used as a decoration only brought out on special occasions. The idea of shattering the china or distorting them could be considered shocking. Her work is displayed in blank white spaces allowing the work to speak for itself. Almost linking to its origins of being a token of wealth.
‘Nomad Patterns’ is a collection of pieces consisting of ceramic: cups vases and teapots that appear to melt into puddles and yet manage to retain their original pattern. Despite the process the elaborate pattern stayed intact. The artist explains that the objects appear to be presented somehow indeterminately between something that is about to collapse or has just been restored; between things that have been invested with the attention of care but also have the appearance of a ruin.
By giving new life to the objects Marin magnifies their importance. Breathing new life into her ceramics. The eye is drawn the sharp breaks in the objects that is softened by the aesthetically pleasing smooth ‘melted’ sides. The harsh cracks in the delicate china is contrasting. China has great connotations to wealth and class. China is often used as a decoration only brought out on special occasions. The idea of shattering the china or distorting them could be considered shocking. Her work is displayed in blank white spaces allowing the work to speak for itself. Almost linking to its origins of being a token of wealth.