The artist’s process begins with collecting sets of objects to be treated as archives, particularly ones that are subject to physical re-evaluations. Sometimes these objects are taken from personal collections, others are developed from happenstance. Salane uses the concept of ‘collection’ loosely and questions how the accumulation has amassed.
Repeating the Encounter
Rose Salane investigates the various histories contained within material objects, usually through the lens of particular individual bystanders. Drawing upon mass datasets and filtering through them, the artist seeks to consider multiple notions of value and truth as they develop and are carried forward by individuals set against a succession of socio-political contexts.
Seeking to consider notions of value and truth as they are carried forward by individuals set against a succession of socio-political contexts, Salane’s practice becomes a democratising act, inherently acknowledging the everyday lives and labours of individual people through history, whether commemorated publicly or lived quietly in the mass.
A new series of frames titled Repeating the Encounter each contain cut-out portions of autographed CD covers the artist acquired on eBay. The original owner, Nelson, had an extensive CD collection of Latin American recording artists who had visited and performed on the island of Puerto Rico, where he grew up. The musical ephemera marks a number of encounters between the hobbyist collector and the 90s salsa pop stars with whom he came into contact.
The artist was drawn to the reappearance of Nelson’s name handwritten onto each album cover, with intimate dedications from each singer. The framed art-works are arrangements of laser-cut croppings of the full album covers and the singer’s signature is made the focus. Nelson’s presence is documented in the exchange and on the objects themselves. The autograph, as something left over, becomes a point of reference for the time and place of the encounter and is evidence of the CD’s circulation. This series seeks to reboot the aftermath of an experience and re-examine how value and memory are negotiated.
Stars have an outward appearance that allows them to be perceived as a spectacle/object by the fan-user-subject. Their objectification is the form through which they are consumed by the fan. The material form, in this case the CD, describes the star’s artistry and fandom. The inward experience comes from the handwriting which becomes anecdotal evidence of the performance and exchange as well as the object’s circulation through space and time. The autograph embodies the exchange, something left over, where the circulation of the CD and autograph, indicates a ritualistic participation. Records of music nowadays are objectless, holding little tactility. This series seeks to reboot the aftermath of an experience by bearing witness to personal memory in the performance of spectacle. –Rose Salane