Mike Womack's Observer Effect runs at ZieherSmith (516 West 20th St. New York) from September 5 to October 5, 2013. There will be an opening reception from 6 to 8 p.m. Thursday, September 5.
This is Womack's fourth exhibit with ZieherSmith and consists of 14 sculptures. These began with the artist caring for his ailing mother who suffered with long and short term memory issues. Talking to a neuroscientist he was told that small memories are corrupted every time we think of them. Womack made a list of memories and worked with a hypnotherapist to retrieve the unrecalled memories. During the session Womack would make drawings before being instructed to forget the session. The drawings were hidden and cataloged--never seen by the artist.
Womack compiled a list of compelling memories and worked with a hypnotherapist to retrieve the unrecalled memories. During the sessions, the artist, an accomplished draftsman, would make charcoal drawings of each memory before the hypnotist instructed him to forget the content of their sessions. With the help of the therapist and an assistant, the drawings were covered, cataloged by the memory and the artist’s age at the time, and then never seen by the artist.
They were then cast in concrete.
This is Womack's fourth exhibit with ZieherSmith and consists of 14 sculptures. These began with the artist caring for his ailing mother who suffered with long and short term memory issues. Talking to a neuroscientist he was told that small memories are corrupted every time we think of them. Womack made a list of memories and worked with a hypnotherapist to retrieve the unrecalled memories. During the session Womack would make drawings before being instructed to forget the session. The drawings were hidden and cataloged--never seen by the artist.
Womack compiled a list of compelling memories and worked with a hypnotherapist to retrieve the unrecalled memories. During the sessions, the artist, an accomplished draftsman, would make charcoal drawings of each memory before the hypnotist instructed him to forget the content of their sessions. With the help of the therapist and an assistant, the drawings were covered, cataloged by the memory and the artist’s age at the time, and then never seen by the artist.
They were then cast in concrete.
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