When I first saw Blair Saxon-Hill’s assemblage installation at the 2021 New Museum Triennial Soft Water, Hard Stone, I instantly knew that I wanted to be in dialogue with this Portland-based artist. Her use of discarded materials and found objects spoke to my ongoing interest in queer artists’ engagement with the supposedly disposable fabrics of everyday life.
The first time I saw these works I was reminded of Italian artist Enrico Baj, who like Blair, loved to combine scraps of fabrics, trimmings and found objects to compose seemingly grotesque portraits. In this presentation at Frieze, Saxon-Hill brings a cohort of formidable portraits, alternating large canvases with modest collages. Take a close look to appreciate all the details of the surface!
The title of the 2021 Triennial, “Soft Water Hard Stone,” is taken from a Brazilian proverb: Água mole em pedra dura, tanto bate até que fura (Soft water on hard stone hits until it bores a hole). The proverb can be said to have two meanings: if one persists long enough, the desired effect can eventually be achieved; and time can destroy even the most perceptibly solid materials. The title speaks to ideas of resilience and perseverance, and the impact that an insistent yet discrete gesture can have in time.
The New Museum Triennial, one of the few biennials set to take place this year, has revealed an artist list for its next edition, which is due to open in October. Organized by New Museum curator Margot Norton and Institute of Contemporary Art Los Angeles senior curator Jamillah James, the exhibition will focus loosely on forms of perseverance and the ways that the past informs the present.
The Eugene native and Portland artist works at the intersection of several mediums, including photography, sculpture, painting, printmaking and site-specific installations. In 2015 she described her work to Oregon Arts Watch as prompting “considerations of material, space, presence and absence".
To be common is to be many things: popular or plentiful, lowbrow or uncivilized, a thing which two or more people can share, an icebreaker. In Blair Saxon-Hill’s exhibition, visitors are welcomed by a theatrical gathering of characters just slightly larger than the average human and constructed from proletariat materials, such as cardboard, clay, sticks, and borrowed wares including umbrellas and handbags. They float on the walls in dialogue or as if they were a choir.
At a glance, Blair Saxon-Hill’s newest assemblages appear to be the relics of an indeterminate past. Their distressed surfaces and moody hues evoke postwar movements such as Arte Povera and Nouveau Réalisme, and the artist’s iconography feels similarly dystopian in its overt humility bordering on impoverishment.
In the April issue of frieze, Dan Fox prefaced his review of the 2013 Carnegie International with some observations about the perplexing lack of consensus around what, today, a biennial is actually for. ‘Portland2014’ is the third in this current formulation (the Oregon Biennial ran from 1949 until 2006) but its agenda and format are still, evidently, very much up for grabs.