The first installation of remnants... debuted at Anna Leonowens Gallery in Halifax, NS in 2003. It was during this exhibition I became actutely aware of the true magic of art: the sculpture became a mirror to those who attended the show, stimulating a diversity of reactions and comments. There is a chord that is struck within each of us when we engage with art. This is why someone may fall in love with a painting or sculpture, while another is repelled by it. Art can therefore be a reflection of the viewer's state of mind, body and soul. 

Dualistic tones of nature vs. nurture; death/decay vs. life; "man" vs. environment; stasis vs. movement are common layers of analysis invoked by remnants... As well, the solid fragility of the material used is often unsettling for some; the unfired clay body dries and begins to crack and decompose over the duration of the exhibition. 

The role of materiality is an important process of remnants... Each form exists only for the duration of the exhibition, and the memory of those who witness it. The unfired clay body is destroyed after each exhibition, where it is then reclaimed, prepped and stored until the next installation. 

Five thousand kilometers and twelve years later, Part 2 of this trilogy of installations was exhibited, unveiling traces of remembrance in fragment and form. 

remnants... | Unfired Earthenware Clay, Wood | 89 x 30 x 21 inches | 2003

Peig Abbott Studios

est. 2004

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