LINDA MARRINON

Marrinon’s profound knowledge of the history of art and ‘making’, spanning from ancient civilisations to modern times, resonates in these new works as she seamlessly employs the centuries-old method of tempera painting—the application of an emulsion of water and egg yolk—traditionally associated with ancient and medieval art.

Her sculptures often depict historical tableaux and archetypes, drawn from a vast repository of cultural references. From classical painting and sculpture, to films, novels, plays and popular media, the titles of these tiny wforms serve as a gateway into Marrinon’s idiosyncratic encyclopaedia. A klismos chair. An indeterminate ruined temple. An ancient Greek votive depicting a figure in an exaggerated Adlocutio pose. Marrinon’s references are simultaneously recognisable and inexplicable.

Whether one is well-versed in art history or approaching her work for the first time, there is always something to be gleaned from the complex layers of meaning embedded within each sculpture. Indeed, as Richard McKenzie so aptly observes, ‘The on-off flicker of ‘recognition’ [one experiences] when viewing these works—the something known in something new—is part of their delight’.