Since Warhol
immortalised the packaging of everyday life, from Brillo boxes to
Campbell's cans, new products cannot be launched without an intimate
consideration of the means by which they are presented. Nowadays,
one can only imagine the teams of people dedicated to the shapes
of bottles for mineral waters and perfumes or the metallic exoskeleton
of mobile phones and mini disc players. Packaging is part of a product's
all-important brand identity, as vital as its logo.
Against this
backdrop, Jacob Dahlgren delights in surfaces without being superficial.
In what can only be perceived as a deliberate move away from the
high-tech, there is something faintly nostalgic about the objects
with which Dahlgren chooses to work. He deals in the patterns and
curves that a stack of plastic cups makes and the spirals that form
if their handles are turned around. Dahlgren evokes a childhood
fascination with brightly coloured objects, charting a journey of
time spent with mother, from the cotton reels of the haberdashery
department to the clothes pegs of the washing line and back to the
towers of Stickle Bricks and Lego.
There is ostensibly
a relationship between Dahlgren's works and the movement led by
Anthony Caro that emerged from London's Saint Martin School of Art
in the 1970s in that they function as sculptures that have rejected
the plinth and are much more than the sum of their parts. They are
a colourful parody of the repeating forms of minimalist sculpture.
In his short novel The Mezzanine Nicholson Baker describes a lunch
hour in which the protagonist observes the minutiae of life, wondering
why his two shoelaces have broken within 24 hours of each other
and whether the environmental claims made by manufacturer of the
hand-drier in his corporate washrooms could be substantiated.
With this in
mind and through its visual quality, Dahlgren's work can also be
read as painting but, rather than asking the audience to spend time
with the painting to determine something about life, Dahlgren has
spent time observing the world around him and wants to communicate
its components to the viewer. The most impressive painterly example
of this is Dahlgren's work entitled Glamour, comprised of a shallow
metal grid overlaid on a cerise pink wall of varying intensity.
The effect is of shimmering beauty that changes its character as
the viewer moves around it and the grid intervenes to expose or
obscure the colour. When looking at work from a post-conceptual
tradition, it is rare that a visceral response is elicited and yet
this piece provides the kind of pure visual pleasure that we have
come to associate with Barnett Newman. In a world in which we are
constantly bombarded by signs and symbols, Jacob Dahlgren's carefully
considered aesthetic is able to penetrate the defences of even the
most brand-cynical members of the Wallpaper* generation.
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