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Medina has been involved in thinking about craft and
object-making in the face of popular production. Her last solo exhibitions in
The Drawing Room presents the different facets and periods in which she articulated
this consciousness of gesture and the agency through which things and signs are
made and circulated in society. As a painter, she de-materialises the process
of mechanical production through deliberate mark-making. She takes from the
world of known objects to a world of performing.
“Mundane Still Arrangement” catches hold of Medina in a
certainty of personal language. While she moves through certain processes in
her previous series to “solve” issues on material, this time around the marks
positions as conscious decisions. While working within the elements of painting
as with the grid and the gestural capacity of color, the works foregoes the
principle of layering over a mark as with painting. Instead, the thread has
been looped over, the object has been placed in deliberate action. In a peculiar
vein, these works are processes of locating things with conviction. The
physical structures that pace and consideration takes place in these works
resonate the trajectory of craft from “thinking with hands” to understanding
that these measures of process and thinking are intrinsic precedents that
deliver resolve.
