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Claire Healy and Sean Cordeiro
The Drag | 2017
The Drag. @ Bruce’s Nursery
There will definitely come a day when all our fossil fuel reserves run out: how far away is that event, is a point of discussion. But the premise behind this artwork is a drag race without gasoline. Through the absence of gasoline to propel a car forward we hope to envision a life without fossil fuel and question what measures we are taking to cope with that eventuality. The Drag is a two-screen projection depicting a lone competitor in an imagined post-fossil fuel drag race. Rather than the car moving from the start to the finish line propelled by gasoline, the lone competitor will need to deconstruct the car down to units that are possible to manually carry to the finish line.
bio:
Claire Healy and Sean Cordeiro’s work has been shown in group exhibitions including in Belgium, China, the Czech Republic, France, Germany, Hong Kong, Italy, Japan, New Zealand, Singapore, Switzerland, Turkey, Taiwan, the UK and the USA. They represented Australia at the 53rd Venice Biennale, 2009, curated by Felicity Fenner. They took park in the 5th Auckland Triennale, curated by Hou Hanru in 2013. Public collections include The National Gallery of Art, Washington DC; MCA, Sydney; Art Gallery of NSW, Sydney and Gallery of Modern Art, Queensland.
statement:
Claire Healy and Sean Cordeiro’s art practice reclaims and transforms the fallout from consumer society. Combining a playful sense of humour and an engagement with art historical precedents, their work is characterised by the deconstruction and reinvention of prefabricated structures and the assemblage of accumulated objects into extraordinary sculptures and installations. Healy and Cordeiro’s practice reflects a preoccupation with the dynamics of global mobility – the networks, standards and financial systems that enable and restrict the movement of people and goods in the modern era. Creating tensions between order and disorder, their works are shaped by traditional sculptural concerns such as mass, form and scale, however, they also incorporate the expressive potential of motion, speaking to the way things move and change over time. Anna Davis, Museum of Contemporary Art, Australia.
Bruce’s Nursery
