In contemporary society the argument of what is real and what is fake focuses primarily on technology. Are we talking to a real person or a computer generated bot? Is that a hologram or an actual performer on the stage? Joanna Manousis explores this classic dichotomy through sculptures made of cast glass, bronze, and mixed media.
Glass is a material that defies many assumptions and occupies dual spaces; it is both a liquid and a solid, at times hard and at other times malleable. Nature Morte presents us with dualities that range from nature versus artifice and copy versus original in order to challenge the viewer to consider whether they’re actually seeing or just merely looking.
Reflection is a recurring aspect in the work. The use of reflective surfaces that shine and images of mirrors drive home the idea of image and vanity, whether it’s a literal reflection of the viewer’s image or the idea of cultivating and manicuring an identity. Is what we see actually what’s really there? Real/Artifice consists of seemingly identical mirrors that offer two different reflections while Veil, an ornate mirrored shield form, offers a fragmented look at ourselves and the surrounding space.
There’s always a barrier between the viewer and the work. The two hand mirrors can’t be held, a taxidermy peacock is settled behind the bars of a cage, and even glass pears hang suspended in bottles. The work is beautiful, displaying a level of finish and craft that inspires a sense of awe and ethereality. These aspects bring forth a lushness that is also echoed in the objects used within the work: a peacock, glass cut and polished to resemble diamonds, and clean natural wooden stands. The high level of craftsmanship is repeated in metaphor through Reaching an Ulterior Realm, which features mirrored glass balloons that pass for the cheap mylar ones seen in every “get well” basket. The balloons appear to be deflated and are accompanied by arrows. There’s a suggestion of archery, a feat that requires precision and practice, that never actually happened but was staged. Everything is meticulously placed but succeeds in luring the viewer to believe it’s been plucked from the wild, natural world and not created by an artist’s hand.
This is what makes the work interesting – it comes so close to looking like the thing it’s mimicking. In the end that doesn’t matter because it’s not about fooling the viewer into thinking they’re looking at glittering gems or actual pears and pigs’ feet, it’s about offering a chance for contemplation on what these objects mean outside of their original context: are you just looking at it or are you actually seeing what is there?
Nature Morte is on view at River House Arts until June 17th. For more information on the artist and their work visit www.joannamanousis.com. Please visit http://river-house-arts.com/ for more information on this and upcoming exhibitions.