Erika Tyson-Green explores the effect of the miniature to reframe retreat as a powerful action, rather than a diminutive one.
Bordering on invisible, the sculptures offer an alternative vision of ‘the monumental’ by translating visual signifiers which are typically used to draw attention, such as vibrant reds, into a reduced scale. Rendering them almost unrecognisable.
The ‘barely visible’ also functions as a tactic for feminist curation, commenting on the gendered occupation of space by emphasising ‘weakness’ to the point of strength. In a climate where there is an increasing demand on art to provide a spectacular experience the miniature rejects this approach, allowing instead for a more intimate and personal exchange between viewer and work. ‘Red Mobile’ recognises your presence and physically reacts to it, shying away from your movement and breath; as you move closer, it moves away back outside of your field of vision. In this way the work holds a continuing conversation with the viewer, listening to a room and speaking in response.