Titled Remote Local, the installation by Caline Aoun redefines her physical surroundings through minimal interactions with the objects or surfaces that catch her attention. The body of work plays with the parallel languages of printing, sculpture and architecture, in order to create eventful visual responses to spaces that envelope our daily lives. Remote Local is empirical and circumstantial; a physical enactment of the artist’s encounter with the surroundings of her studio in the Lebanese countryside.
The installation consists of three artworks. The first is the result of casting recycled carbon paper pulp, ink, and chemicals into silicone rubber moulds of large sections of the very road that is present outside Aoun’s studio. The casts are mounted on the walls of the booth. The second artwork consists of numerous copper casts of pine needles – which are found on the edges of the road outside the studio – scattered on the floor of the booth. The third artwork, more abstract in nature, is created by feeding a single piece of paper into an industrial printer over and over again until it becomes saturated with layers of cheap, non-permanent ink, which in time will fade.
The casts of the section of road articulate clearly their materiality, drawing attention to the details and textures created by past road works, decades of storms, as well as years of wear by the vehicles which have traversed its ground. The paper casts invite us to consider the unyielding quality of construction materials such as asphalt and their resilient presence through time, while the small bronze metal rods rebrand the thinness and transitory life of the pine needles as something of permanence and weight. The heavy and immovable road becomes a fleeting and lightweight paper form, while the delicate and ephemeral pine needles become a scattered field of enduring and substantial objects. The final ink-layered paper piece brings together to a full circle the artist’s ode to the transient – where time and place affect both the art-making process, as well as the work in its final shape.
The installation presents a combination of minimalistic rigor and time consuming processes in order to make sense of her surroundings, offering a visual or emotional experience of the ‘granted’ and proposing something altogether more distant for the viewer to interpret.
About the Artist
b. 1983, Beirut, Lebanon / Lives and works between London and Beirut.
The work of Caline Aoun centers around strategies of dexterous material reorientation, shifting the viewer’s understanding of not only the ground underlying them, but many of the key constitutive elements of our surroundings – architectural facades, granular bits of pulp from which paper is processed, digital advertising space, even natural events in the landscape are playfully brought to a point of increase, of inversion, or suspension in rare modalities of measured, yet joyful experimentation.
Aoun graduated from the Royal Academy Schools, London in 2009. Her recent exhibitions include Art Dubai with Grey Noise (2015); Flatpacked/Wrapped/Stacked, Punk & Sheep London (2014); The future of smart technology in your hand, Noshowspace London (2013); Stopped Clocks in Places of Busyness, Fold Gallery London (2013); Crisis Practice, Workshop Gallery, Beirut (2013); We hesitated between arrangements, modulations and manoeuvres, MINUS 5, Mkalles, Lebanon (2013) and Exposure 2012, Beirut Art Center, Beirut (2012).
She will be part of a group presentation titled I spy with my little eye: An emerging generation of Beirut artists at Mosaic Rooms, London curated by Sam Bardouil and Till Fellrath by in July 2015. Solo presentation of her new work will open in November 2015 at Grey Noise, Dubai.
About the gallery
GREY NOISE represents art practices with a focus towards contemporaneity, and an emphasis on
distinct, often experimental content. Not limiting itself to geographical representation, the gallery
exhibits both emerging and established artists who demonstrate a defined conceptual premise in their