watching not helping
5 Crows (plus 1) and the Mondrian TreE
Through the eyes of watchful crows, Hardaker imagines the lost lives of hedgehog, owl, hare, fox, badger and badger, the stars of the show. Observed during a road trip (as roadkill) hedgehog, owl, hare, fox, badger and badger take on the role of the human endeavour - that is to question, challenge, shout about and pour over the horrors of global degradation, loss of habitats and a dying planet.
Giving visual thought to imaginative actions, ‘Spotted in Sainsburys’, ‘Don’t kill me’ and ‘Hare’s a Mess’ are just some of the works which play with the ambiguities and paradoxes of human existence, asking questions like, ‘What the heck is going on?’ and ‘What do we do next?’
The stars of the show, embody human lives, driving to make a living, skating to get there soon, lifting, carrying and supporting, enjoying the view and sharing crowed spaces. Through this action packed narrative Hardaker invites the audience to join her in making philosophical speculation about life, living, dying and survival.
Final drawings find the stars of the show respectfully laid to rest and grateful for their time on this planet and on these walls.
With its full title “watching not helping: 5 crows and the Mondrian tree”, Hardaker’s exhibition is inspired by corvids inhabiting winter trees. Engaging in familiar behaviours like the instinct to co habit, perform rituals of evening roosting, bedding down, chattering, watching and sleeping, the corvid family at large, represent human life, silhouetted against winter skies. Along with road networks and inhabited communal spaces, Hardaker uses these pale winter hues and bright sunset hues to illuminate the branches of the trees and the spaces in between, giving way to imaginative thoughts, conversations and speculation.
20th century artist Piet Mondrian described capturing the spaces in-between when manipulating the beauty of nature into abstract composition. Now in the 21st century with nature in the spotlight and art still a vehicle to communicate beauty, Hardaker uses these same spaces in-between (real and imagined) to interplay with the composition, ambiguities and paradoxes of human existences.
