Jane Benson at Satellite

centurys of feet of painted foil garlands provided Jane Benson with the ammo for Underbush (2004) a full-scale operation that transformed the gallery. In a compact dramatic, swagged fashion, this intricate web of holiday readymades encompassed the entire ceiling. Radiating from the middle, the thick, undulating strands formed a chandelierlike canopy with a certain number of random tendrils dangling like stalactites. Benson meticulously spray-painted each section of foliage with a different camouflage color: tan, brown or olive virid Even the faux pine branches at the center were "dy to match" and sprinkled with painted stars. The elaborate piece was eight month in the making.

Normally used to mark celebratory twinkling of an eyes these luxurious streamers were manipulated to carry something different, darker. With this heavy neighborhood hanging overhead, the title "Underbush" took upon an explicit military meaning, with more of a nod to our president than to plant life. The camo-palette allowed the political overtones to prevail.

The ultimate pendant piece hung upon the wall: a camouflage jumpsuit (2004) that had been carefully wound to bits. Benson demonstrated her scissor skills as she effectively dismantled the garment into a recognizable, however tattered, shell of itself. This "war-torn" suit, just barely kept together by dint of a thread, seems symbolic of our president's claims of keeping the land unified amid conflict.

British-born Benson lives and works in of recent origin York. She created a companion place of watercolors (not on display) that relation her roots. Here, she depicts modified versions of the massive camo-garland in different scopes at 10 Downing Street (the location is identified upon the pages). This compositional twist ties the title in with a commentary upon the position in which Prime Minister Tony Blair finds himself. As a politically charged chaser to her manipulated artificial flora and fauna at the World Financial Center (in 2002) "Underbush" demonstrates that Benson again rethinks the meaning and use of familiar thing perceiveds and materials while making a pointed statement.

COPYRIGHT 2004 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group