Throughout history objects have been assigned value in disparate and disproportionate ways. From the Bronze Age into the present, one can trace the history of human value-systems through the objects that we store away. In times of uncertainty (war, plague, financial crisis etc.) the urge to stockpile capital in a physical form becomes all the more prevalent. Yet long after such crises have passed, and the original owners have themselves returned to the earth, these hoards many times remain as evidence of that paranoid desire. The sentiments and use value of the objects has been lost; they become treasure, artifact, or mere curiosity. Liz Glynn’s first exhibition, HOARD, at Redling Fine Art will look not only at how value is assigned to material objects, but also traces the futility of constructing a perfect security apparatus to contain ones’ valuables.
Over the last century cashes of coins, jewelry and ceremonial tools dating back to 2400 B.C. have been discovered by metal detector hobbyists and archeologists alike throughout Europe, their containers long since rotten away. These objects were put in the ground as a means of savings for the future on earth or as offering for the afterlife. Glynn’s Lost and Found series will recreate these hoards out of the earth itself, using clay hardened in a pit-firing process. From wooded chests to safety deposit boxes there has always been futility in the enterprise of crafting a perfectly secure chamber. The chronicle of protective technologies is the product of an arms race against those who wish to crack them. Early hobnail safes where constructed of wood, and as such were not immune to fire. This led to Diebold and others who triumphantly produced fireproof forged-metal safes that outlasted even the Great Chicago Fire of 1871. But it was soon found that these could be cracked with explosive charges, leading to bank vault safety deposit boxes. Culling from legendary stockpiles Glynn, working in plaster, glass, paper and metal will create a series of sculptures based on these absurd mechanisms.
Liz Glynn creates sculpture, large-scale installations and participatory performances using epic historical narratives to explore the potential for change. Her practice seeks to embody dynamic cycles of growth, possibility, and decay by evidencing process, encouraging participation, and inciting future action. Recent projects include III, a multi-site installation and event series produced by Redling Fine Art, Utopia or Oblivion, Performa 11, New York, loving you is like fucking the dead at MoCA, Los Angeles and black box produced by LAXART and the Getty Research Institute as part of the Pacific Standard Time Festival. Her work has been presented at venues including The New Museum (NYC), LACMA (Los Angeles), The Hammer Museum (Los Angeles), Paula Cooper Gallery (NYC), Southern Exposure (San Francisco), and Arthouse at the Jones Center (Austin). Reviews of her projects have appeared in the New York Times, New York Magazine, the Los Angeles Times, Art Lies, Domus, Archaeology Magazine, Frieze and Artforum.