Artist: Sage Garver
Media: Metal, Sculpture, Plaster, Installation
Gallery: Dennis W. Dutzi Gallery
Sage Garver is currently earning her BFA degree from the CSULB School of Art’s Sculpture Program. This exhibition is part of her degree program, as well as an expression of a very personal struggle that she decided to share. The title BIO is fitting, representing a connection to both the theme of the exhibition and artist which will be discussed later on.
In the middle of the room, a golden chain link hangs from the ceiling in various patterns. The thin golden chains create a dreamcatcher-like visual that works well in contrast to the white patterned walls. The centerpiece appears to be the wall itself, but the chain links add substance to the middle of the room. Also within the center of the room, a metallic structure that resembles the artificial heart of the exhibition. On the walls, protruding structures exist that remind me of seaweed and bubbles. These comparisons don’t reflect the theme exactly, but they do match a biological factor within the health of any individual, plant or animal.
Sage Garver has stated that this project has to do with personal health and body illnesses, including her struggles to cope with everyday life. These include specific food restrictions, as well as a loss of independence from certain bodily controls. The patterns on the walls are representative of foreign illnesses infecting the body of the individual. The solid white canvas no longer exists, and has been hijacked by a transformative substance.
The best part of this exhibition in my opinion is the meaning behind the walls. Sage is expressing a clear desire to somehow alleviate the stress that comes with physical illness. The walls are haunting in their patterns of illness, reflecting the fact that these walls and the person it represents may never be the same again. They may never achieve the outcome of glowing health that so many people take for granted, and it must be internalized for the healing process to begin. Instead of denying the existence of imperfect walls, acknowledging their faults may be the best course for recovery.