Anna Uddenberg and Magali Reus: Material complexity.

Anna Uddenberg's sculptures have a lot of resemblance to Magali Reus's Harlequin Darts (2016), one of a series of similar sculptures that are suggestive of functional machines often frozen in progress, caught in mid-function or in a state of ruin or abandonment.

Magali Reus

In this piece, complex material compositions are draped over steel tubing- referencing saddles or motorcycles. It is the layering of material textures that both Uddenberg and Reus use to create the appearance of something functional or utilitarian, suggestive of importance.

In my work it is this complex layering of imagery, using just materials and composition that I aim to achieve so poignantly. E.g Using tarmac or objects to reference either roads or rave environments. The idea of the works being frozen or abandoned is also correspondent to my work- the sculptures appearing to be frozen in movement. Both artists also instil an unsettling presence within the viewer. For Reus, Harlequin Darts (2016), and similar, feature these steel rods that reference hospital beds but this is confused with the notion of saddles and animals. Uddenberg however, uses mesh, quilts, fake leathers and furs to reference both massage chairs, in transit spas, SUV limousine interiors, first class lounges and dentistry examination chairs. Their appearance is also machine-like and functional but seedily quite sexual; one would not be surprised to see them strap in users for a variety of horny exercising games. The composition, much like Reus' is rather clinical, confused with the space-age-bdsm vibe this causes discomfort in the viewer. Not to mention the fact that her sculptures incorporate human figures into the objects curves; its ergonomic shape invites interaction for what- ever the cryptic usage may be that the object promotes. Uddenberg says;

“I wanted the works to have a lot of body/presence, to be buff and femme simultaneously while suggesting/inviting for various ways of imaginary interactions on and with them."

Anna Uddenberg