Oh yes… It is a garden! is the first time Olaf Breuning has created a large scale sculptural installation in a gallery environment. This woodland landscape is populated by an array of raw wooden animals carved by chainsaw, then hand chiseled. These creatures, ranging from rabbits and chickens to crocodiles and cheetahs, have holes embedded in them, into which hundreds of large handmade candles in vividly alluring colours have been forcefully inserted. The wooden sculptures have been created in Grizedale Forest, in the Lake District, and the candles produced in Breuning's studio in New York City.
Breuning has transformed Chisenhale Gallery into a seductive environment alluding to creation myths and a lost paradise through which the gallery visitor is free to wander. Breuning's previous work includes elaborately staged photographs, installations, sculptures and videos. By inventively reframing the more seductive clichés of advertising, film and pop music he has created visually fascinating tableaux and compelling narrative scenes that now extend into a new dimension with his Chisenhale Gallery exhibition.
Olaf Breuning was born in 1970 in Switzerland and now lives and works in Zurich and New York. His exhibition at Chisenhale coincides with They Live at Chapter in Cardiff (10 Sep - 30 October 2005), which features a selection of previous photographic and film work and new sculpture.
Click here for the accompaning publication to this exhibtion in the shop.
Published by Chapter
Edition of 1000
Paperback, colour illustrations
Texts by Hannah Firth, Martin Herbert, Adam Sutherland.
Clambering through the detritus of a destroyed library, accompanied by a soundtrack that guided me through clouds of billowing smoke to the light beaming through a gaping, violent hole at the end of the room, I was confronted with a coffin that partially concealed an axe-wielding sex doll. But this wasn’t just any old sex doll; this was Amanda, created using Hollywood special effects technology; the most “realistic love doll in the world” and there she was, at the end of her journey, a ‘Weird Science’ construct that required Breuning to shape her online – the colour of her eye shadow, hair, skin tone; the ultimate in artifice, deposited in a scene that required an aggressive departure from the traditional library entranceway.
For more information about the exhibition please click here
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