Catriona Stanton

Burial Ground of Zool 2015

In The Burial Ground of Zool, Stanton and Ooms cultivate a yearning for atavistic earthiness in order to create objects that evoke a sense of connection with that beneath, before and outside discursive narratives. This is their third collaboration process, and necessarily works within the limits imposed by their geographical distance: Ooms in Brisbane and Stanton in the Illawarra region, New South Wales.

 

Ooms’ ambiguous black forms made from recycled polystyrene are pierced, wrapped and embellished by Stanton by richly coloured, repetitious details. The coexistence of the elemental and the decorative in places of worship or ritual was the imaginative ambience the artists worked with. The rules they set for this collaboration were to: avoid familiarity, veer towards eros, get grounded and stay loose.

 

The artists continue to collaborate because they find themselves serendipitously drawn to similar influences, and are nourished by their ability to work easily and intuitively with each other.

I look at art as an unknown necessity, a necessity that precedes the ‘order of the world’, that denies the order in order to dream the world.

Gilberto Zorio 2002

Photos Jessica Maurer

  • God Grammer I
  • Venetia de Vilnits
  • Ghede's Dream
  • Devil Dodgers
  • The Objects of Hum
  • Erzulie's Spoils
  • The Oracle's Garden
  • God Grammer II
  • Wonder Work
  • Lotus Funk
  • Burial Ground of Zool