Futile Activity
30cm x 30cm
Ink and pen on 170gsm Hahnemühle paper
2020
by Nicola Grellier
http://nicolagrellier.co.uk/
Instagram- @nick_grellier
‘Nicola Grellier makes drawings, collage, and objects with old technologies and low value, worn out materials to counterbalance the speed and dehumanising rush of life. Deteriorating materials are imbued with data, passively demonstrating survival and decay, while the slow, intensive labour of making addresses a yearning for time to be slowed down and expanded. In sometimes precarious outcomes there seems to be a touching absurdity in the balance of time, effort and value against possible disintegration.
Integrally connected ideas about time and memory are confounded by the inadequacies of language and communication. Grellier’s work plays with duplicity, misinterpretation and the relationship between the funny and the sad.’
30cm x 30cm
Ink and pen on 170gsm Hahnemühle paper
2020
by Nicola Grellier
http://nicolagrellier.co.uk/
Instagram- @nick_grellier
‘Nicola Grellier makes drawings, collage, and objects with old technologies and low value, worn out materials to counterbalance the speed and dehumanising rush of life. Deteriorating materials are imbued with data, passively demonstrating survival and decay, while the slow, intensive labour of making addresses a yearning for time to be slowed down and expanded. In sometimes precarious outcomes there seems to be a touching absurdity in the balance of time, effort and value against possible disintegration.
Integrally connected ideas about time and memory are confounded by the inadequacies of language and communication. Grellier’s work plays with duplicity, misinterpretation and the relationship between the funny and the sad.’
30cm x 30cm
Ink and pen on 170gsm Hahnemühle paper
2020
by Nicola Grellier
http://nicolagrellier.co.uk/
Instagram- @nick_grellier
‘Nicola Grellier makes drawings, collage, and objects with old technologies and low value, worn out materials to counterbalance the speed and dehumanising rush of life. Deteriorating materials are imbued with data, passively demonstrating survival and decay, while the slow, intensive labour of making addresses a yearning for time to be slowed down and expanded. In sometimes precarious outcomes there seems to be a touching absurdity in the balance of time, effort and value against possible disintegration.
Integrally connected ideas about time and memory are confounded by the inadequacies of language and communication. Grellier’s work plays with duplicity, misinterpretation and the relationship between the funny and the sad.’