Nadja's Room - Plans for an installation
These are photographs of Nadjas room.
The room is in two sections. The front and the behind. The ‘stage’ and ‘backstage’. The backstage, is behind the bed and tells a story about a very little girl and the front of the room, the stage - about somebody who is engaging in some kind of narrative - a dialogue of aspiration, identity and subterfuge . The bed is decked theatrically with red velvet, silks and fairy lights, there is a doll on a long string hanging from the headboard, hung by the neck. A large silk cushion on the bed proclaims BABY LOVE. Dead flowers and board games flank the bed.
On the front doors of the wardrobe facing to the back of the room are photographs from Nadja’s childhood. There are children’s fairy dresses peeking out. Her fridge has brightly coloured alphabet magnets stuck to the front, with words beginning to be formed.
The exterior walls of the room facing the outside of the installtion will have large photographs of parts that historically ward off evil and make threats to the enemy. This is an armory of eyes, pudenda, penises and arses.
All those who tell stories know that a prohibition is followed by a transgression, just as a loss is always followed by a journey to make good that loss.
Nadja's room shows us that she was striving extremely hard to construct some narrative she could live. Is she trying to make good some loss? Or are these just the detritus of any contemporary life? We see glimpsed entries in her diary, rambling and highly evocative.
The room is in two sections. The front and the behind. The ‘stage’ and ‘backstage’. The backstage, is behind the bed and tells a story about a very little girl and the front of the room, the stage - about somebody who is engaging in some kind of narrative - a dialogue of aspiration, identity and subterfuge . The bed is decked theatrically with red velvet, silks and fairy lights, there is a doll on a long string hanging from the headboard, hung by the neck. A large silk cushion on the bed proclaims BABY LOVE. Dead flowers and board games flank the bed.
On the front doors of the wardrobe facing to the back of the room are photographs from Nadja’s childhood. There are children’s fairy dresses peeking out. Her fridge has brightly coloured alphabet magnets stuck to the front, with words beginning to be formed.
The exterior walls of the room facing the outside of the installtion will have large photographs of parts that historically ward off evil and make threats to the enemy. This is an armory of eyes, pudenda, penises and arses.
All those who tell stories know that a prohibition is followed by a transgression, just as a loss is always followed by a journey to make good that loss.
Nadja's room shows us that she was striving extremely hard to construct some narrative she could live. Is she trying to make good some loss? Or are these just the detritus of any contemporary life? We see glimpsed entries in her diary, rambling and highly evocative.
Use the arrows to scroll through the images.
