education

Wimbledon College of Arts, BA Fine Art: Painting, 2016-2019

 

exhibition history


BA Fine Art: Painting Degree Show, Wimbledon College of Arts, June 2019

 

'For Love Or Money' (group show), Copeland Gallery, London, March 2019

‘And when do pigeons become doves?’ (group show), curator and exhibiting artist, Safehouse, London, April 2018

‘Michelangelo Pistoletto at Wimbledon College of Arts’, (group show) co-curator and exhibiting artist, WCA, February 2018

contact

moedlingera@gmail.com

an articulation...

My work - predominantly constructed of different metals and clay - refers to our entanglement with each other and our material environment. By subjecting materials to trauma and/or affection I create a sensorial landscape that communicates different emotive states which I believe do not only exist as solitary experiences but collective ones.
I  see my sculptures as social agents that act in similar ways we do. In constant pursuit of meaning and function, they fail to fulfill any “higher purpose” — ultimately hollowing out the viewer.
The pieces adapt different roles and encounter each other in new ways within each set up.
Since they have no written or spoken words to articulate themselves with, they do this through the way they physically are. Tongues and the notion of touch are elements that materialise in my work, since they are the tools we use to correlate with our surrounding. My sculptures do not use their tongues and hands like we do but communicate with us and each other in an alternative manner. One thing steps on another, some face each other, one grasps out to another and some hide from others entirely. Things are anchored and fixed, conveying a sense of stability and/or restriction. Other things are unstable and wobbly and in a constant state of indecisiveness — they ponder about falling or not. These states of being reflect on building and digging concepts of truth or reality that can anchor or uproot us entirely. But where do we locate the line between collective and subjective experiences of reality — and when do frameworks we adapt become restrictive — or too lose to make us feel safe?