Intricate and almost impossible ceramics, hand-knitted crystalline floor pieces, swirling and balancing wooden bows reminiscent of bones, electromagnetic waves or other invisible currents. The work of Jennifer Tee, comprised of sculpture, installation, performance, photography and collages, is the exploration of a continuous dialogue between material experimentation and philosophical contemplation.
In Occult Geometry Tee’s visual and sculptural language captures and re-activates occurring themes within western art history imbued with eastern philosophy. The composition and geometrical arrangement of objects conveys a deep interest in the notion of sculpture exploring the possible fluidity of a structure, the transparency of a solid surface paired with the possibility of concealing matter inside it, and the transitional quality of shifting function and becoming a stage for a choreography of future actions and movements. These are simultaneously formal and intellectual concerns that amalgamate in an attempt to visualise the fragile relationship between mind, body, and spirit.
The exhibition is curated and produced by Signal – Center for Contemporary Art.
Jennifer Tee (b. 1973, Arnhem) lives and works in Amsterdam and has a diverse practice that includes sculpture, installation, performance, collage and public sculpture. Jennifer Tee has made solo exhibitions in recent years at Project Arts Centre, Dublin (2013), Eastside Projects, Birmingham (2010), Galerie Fons Welters, Amsterdam (2014, 2009), Artspace, Sydney (2005), Van Abbemuseum, Eindhoven, Museum voor Moderne Kunst, Arnhem (2003), Art Foundation Xiamen, Frankfurter Kunstverein (both 2002). A selection of group exhibitions include ‘The Peacock’ Grazer Kunstverein (2014),‘Six Possibilities for a Sculpture’ La Loge, Brussels (2013), ‘Beyond Imagination’ Stedelijk Museum (2012), ‘Secret Societies’, Schirn Kunsthalle, ‘The Dutch Identity?’ Museum de Paviljoens, Almere (both 2011), ‘The Knight’s Tour’, Museum de Hallen, Haarlem (2009). Jennifer Tee has also participated in the Prague Triennale (2008), Auckland Triennial (2007), Gwangju Biennale (2006) and the Sao Paulo Biennial (2004).
The exhibition is supported by the Mondriaan Fund, the Swedish Arts Council (Kulturrådet), the Culture Administration of Region Skåne (Kultur Skåne), and the Culture Department of Malmö (Malmö Kulturstöd).