Gretchen Frances Bennett: “Objects that appear in my drawings are pieced together place holders, in an ongoing search for the things that stay. They speak to a fleeting image caught peripherally, that can hold basic significant information. This constellation of related and incomplete fragments continually touches down on this question of what stays, yet, is not overly tied to it.
“Daily domestic artifacts are caught, as if in morning light, or (Giorgio) Morandi non-light, just coming into view. A reflection of my legs in a picture window stand by chance with table and chair legs, along with potted plants, shaped like inverted limbs, a mirror. I’m thinking here, also, of Peter Fischli and David Weiss, focusing on the banal aspects of everyday life, ‘valorizing the childish and the wondrous; exploring these themes through simple means and everyday artifacts, often resulting in humorous, but equally moving works, and their on-going project Suddenly this Overview.‘ And of Luis Camnitzer’s presenting and framing everyday objects and text sort of the way a naturalist would.”
Bennett, who currently has a solo show on view at Bridge Productions in Seattle, has been called a member of the “tenderness movement” for her interest in capturing specific fleeting moments that speak to the vulnerability and emotional experience of everyday life. In 2010, she was an artist-in-residence at the Lower Manhattan Cultural Council, Governors Island, and in 2014, she received a prestigious Betty Bowen Special Recognition Award. Administered by the Seattle Art Museum, the awards honor Northwest artists for original, exceptional, and compelling projects. Bennett is also interested in writing, especially personal essays and poetry.
“Gretchen Frances Bennett: The Rough Draft of Everything,” Bridge Productions, Seattle, WA. Through July 29, 2017.