She is not one of the newcomers on the international art circuit: if you've ever seen her, with her flaming red hair and piercing eyes, you would not forget her or her work, too soon. Horn works in numerous mediums; her... [more]
She is not one of the newcomers on the international art circuit: if you've ever seen her, with her flaming red hair and piercing eyes, you would not forget her or her work, too soon.
Horn works in numerous mediums; her pieces often utilize small motors and pulleys to create subtle animations.
Her piece, "The Little Painting School Performs a Waterfall" (1988) is a "waterfall" of rectangular, cobalt blue, paintings floating close to the gallery wall -- with an "ejaculation" of the same colbalt blue, shot up the wall, behind the floating rectangles. This "exclamation point" on the wall, appears as the actual "occurrence" while the floating rectangles seem to be the after-effect. Though this piece is inanimate, it gives the sense that it contains and represents a continuous cycle.
Along with contemporary artists like Eve Andree Laramee and Jana Sternbach, Horn's machanic pieces talk about the body and the sexualization of creation and discovery. These ideas follow in the footsteps of Picadia and Duchamp and elaborate on them from a female perspective. Emotionality and lack of linear narrative figure prominently in Horn's work. It focuses on "human truths" which are ephemeral at best and presents an overall question: "Who gets to make the truth within our culture?"
The academic nature of Horn's work is enhanced by at least a minimal understanding of the "point" of her works -- and coming upon them "fresh", one is not necessarily aware of their implications. [show less]