In Me, Me, Me, Me, a group of five wall sculptures in which fragments of celluloid film are mounted in resin, Lucy Skaer is concerned with addressing the past. As she explained in a Guardian interview:
Me … is an extension of and intervention into one of my previous film works. [I] adapted the film reel by physically punching out the centre of each of the celluloid frames so that, when projected, all that remained to be seen on screen was the very edges of the image. I kept the punched-out bits of the film and cast them into clear resin lozenges; each lozenge contained one scene of the original film. As sculptural objects, these lozenges are a new record of the time and location of the original film. The image has been rerouted.
In fact, the film material was re-purposed three times, starting out as Film for an Abandoned Projector (2011), becoming Margin of July (2012) once the centre of each frame was removed, and ultimately cast into Me, Me, Me, Me.
Skaer met the Surrealist artist Leonora Carrington in 2006, an encounter which prompted her to work with historical images and artefacts, opening up new ways of looking at the past. Skaer’s adapted images gain power from containing something of both the original idea and its negation. In this series, the clear resin lozenges are reminiscent of enlarged old-fashioned pieces of jewellery in which the black pieces of film get progressively darker and more intensely (and menacingly) clustered, as if time has literally been suspended in aspic.
Skaer makes drawings, sculptures and films, often combining them in installations of all three. Transformation is key to all her work – whether incorporating photographs she has found in newspapers and books, pictures sourced from the Internet, or paintings and sculptures by other artists. Skaer’s curious and poetic images hover somewhere between recognition and ambiguity; figuration and abstraction.
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