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Bridget Baker 12 - 15 June 2020 Ruth Sacks. The art world is filled with people who are anxious to function in an advisory capacity. I prefer to place inconsistencies into the fabric of existing systems and see what happens. Julia Rosa Clark. A swarm of beautiful paper ballerinas float between layers of pastel tulle. A closer look: sharp pearly pins hold each fast across the neck to the net-like fabric. Arms thrown up in an arabesque become gestures of fright or flight. Glowing cartoon-like tears stream down the women's cheeks onto their tutus. All is not as it seems in the world of pretty-pretty. Bridget Baker. Baker's idiosyncratic microtopia, shot through as it is with invisible manicurists, beauty queens falling overboard, and glamorous blue-coated figures involved in mysterious but determined actions against various skylines, is one of the rules, processes and belief-systems; some universal, some invented. Labour and play, document and myth, gender and avatar are Baker's currencies of exchange, and coupled with her infectious wit and colloquial wisdom make for irresistible propositions for participation. Adapted from text by Kathryn Smith 2006. Dorothee Kreutzfeldt. The sense that we are running out of time, the vulnerabilities and urgencies around living, seem to always intensify. Cities, like Johannesburg, are predicated on extreme and disparate realities, on change. In this context, painting offers a seductive, intensely personal space to process the given, what is visible or unspoken. It allows for something else to unfold - a continuous moment, a memory, a bad joke, an echo of the city's fiction... Official website: www.liste.ch
Bridget Baker. The Maiden Perfect, 2005. 1/8 Lambda print and diasec. 180 x 180cm
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