Text by Otino Corsano

In her new series of light-boxes, animation and sculptures, Margie Kelk craftily serves up a refreshing artistic formula with clarity —albeit, with a discourse still difficult to trace. Rather than distilling from art history, Kelk’s new collection builds from an unexpected conceptual wellspring. This allows for an essential and unique narrative to form the foundation for her original aesthetics involving the explorations of earthly artistic vitalism.

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nowhereness | artcite

Nowhereness, exhibition at Artcite Incorporated, Windsor, Ontario

Exhibition dates: March 7 - April 19, 2014. 

"Margie Kelk’s current work is concerned with issues of pain, rootlessness, and alienation, in relation to online and offline social networking sites. Her ceramic heads – their faces distorted, filled with despair and sometimes hope – are placed among models of disassembled computer components; they become components themselves, victimized or in control.

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matrices of distortion

A dialogue between Margie Kelk and Alan Sondheim

Margie: Matrices of Distortion is a photographic series which looks at isolated individuals such as the elderly, living alone in their homes and removed from everyday life in our modern, machine-driven society, governed by computer technology. They live as powerless outsiders, in a cold, threatening and metallic-gray world, glittering with menace. Lost, and isolated, they withdraw into their own realm of disorientation. 

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Text by Alan Sondheim
1. Machinery shudders, is shattered in Kelk's recent work; the six largest pieces contain box-like openings breaking through the surface, which are reminiscent of funerary niches. Three of the six are empty; the other three contain Pennsylvanian anthracite coal, a broken cup, and a charred pillar. The connotations are of a space potentially leading downwards, a false entrance into a pyramid, a grave, and the burial of the natural. Odd that the machinic doesn't pull the pieces into a Charles Sheeler-sheen; instead, the clarity of engineering is subverted by an expressionism that insists on the blurring of boundaries between body and machine, hand- gesture and machine-shop. The latter is brought home as well in the two large sculptured heads with swarf (machine tailings); the swarf itself is expressive and organic - the result of peelings from presumably finished, hardened parts.

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