A selection of critical writings that blend sociological procedure, technological metaphor, visual and theoretical apparition, indexing the material and linguistic problems of making art.
Approximation, models, collage and inlay; dust, vectors, animals, snow, blood, and diagrams: compiled in this volume for the first time, the selected writings of Helen Marten probe the critical spaces between image and language, material subject and conceptual idea. Working across sculpture, painting, drawing, writing, and video, Marten has emerged as one of the leading voices of her generation. Driven by both informational logics and emotional heat, her work compels a peculiar engagement with language—its wounding or wailing power, its sly metamorphosis, its seduction. Mud Physics explores this submerged side of materiality where dark intent lies, questioning the linguistic framework of theoretical doubt as the place where mistakes are embraced to become generative.
Marten envisages the artist to be like a busy dog, sticking its nose into the indexes of social or technological space and shuffling things about, coaxing or relegating artifacts to the peripheries like an aggravating archaeologist. This iterative flexibility holds great appeal but also a certain danger—to find exposed and sticky the granular indecency of material, its mechanistic hierarchies, its feral stink of policy or corruption. Exploring theories of the mercantile and the digital, her writing examines craft as syntax and touch as a rejection of heteronormativity; instead, pleasure in material promiscuity is felt as a "fundamental itch."
British artist Helen Marten (born 1985 in Macclesfield, lives and works in London) pokes humorously at questions of ownership and dishonesty in materials, the relationship of object to artifact, and package to product. Interested in the grammatical approximations made in workmanship, Marten's oeuvre weaves constant conversations between counterfeit and camouflage. Image is continually tripped up by language, by a deliberateness of error that postures with all the concrete certainty of cultural recognizability.
Helen Marten won the 2016 Turner Prize.
