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Venus I (Self Portrait) appartient à une série construite sur des images tirées de l’histoire de l’art. Elle prend comme point de départ la Vénus de Botticelli, qu’elle représente sur une plaque d’acier découpée au chalumeau à jet d’oxygène et peinte en nuances de bleu. L’image originale a été tordue, gauchie, et la figure connue, transformée en quelque chose de nouveau et de différent : une traduction de la source.
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Margot Klingender begins each work with a found image. Gathered over the course of several years, images arrive by chance and others are sought after. She draws these images repeatedly, transforming them from something in flux to something in-between: objects that hold their own autonomy.
With a vast index of images, symbols, and referents, Klingender’s work tends toward the hieroglyphic. The objects she creates out of noble materials, such as bronze and leather, and in luxurious hues contrast with the grittiness and wobbliness of her lines, giving them a naïveté that makes them both appealing and dangerous. They exist in a form of duality, open and closed, individual and collective, becoming entry points to knowledge and imagining, acting as a sort of portal.
Born in Edmonton in 1991, Klingender holds a BFA from Concordia University (2014). She presented a solo exhibition at Projet Pangée in 2019 and participated in Art Toronto (2019) and Material Art Fair in Mexico City (2020). Residencies attended include a partnership between the Slade Research Institute and the Camden Arts Centre in London, England, and the Banff Centre for the Arts. Her work can be found in private collections throughout North and South America.