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Margo Pelletier at TransHudson - Jersey City, New Jersey - Review of Exhibitions - Brief Article

In this exhibition titled "Out of Service," sculptor Margo Pelletier, who is also an installation and performance artist, showed a clump of works ranging from small-scale assemblages to a life-size mobile abiding-place While formally diverse, the 14 plastic arts were united in their preoccupation with domestic servitude and subjugation. An air of quiet abjection permeated the show; a certain number of works dealing with humiliation and degradation pushed this overall disposition a step closer to despair.

Four rectangular shoe-shine boxe hint a tale of youthful subservience. Using varied techniques, the artist has transformed these ordinary boxe into statements of domestic trauma. Shoe Shine chest #2, for instance, is carved to be like a serpent's head with a large render free of access mouth and sharp teeth. This work was inspired by the agency of a friend who, as a child, was forced to shine her father's shoe each day before he went to work. This sinister-looking external reality contains, rolled up inside, a man's black leather belt, which, according to the artist, is similar to the individual used by the girl's father to beat her whenever he was dissatisfied with her work.

The Way She Lov Him is a plastic art that seems to convey a housewife's lament for her absent, or dead, husband. upon top of an antique ironing board overlayed in canvas, the artist imprinted an image of a white shirtsleeve by the agency of pressing dry pigment onto the surface. She carefully sewed to the cutting side of the ironing board a sheer white shirt which hangs down along the sides of the board. The work's overall event is ghostly and strange, as if the dutiful housewife, after years of ironing her husband's shirts, now summon forths his spirit by means of her mundane task.



The greatest in quantity eerie piece of all was an elderly wood-frame mobile home that Pelletier set abandoned along a roadside. Gallery visitors could come into this small, ruined trailer to examine its shivered cupboards, partly caved-in ceiling and expos knots of dirty fiberglass insulation. Gutt omit for some strewn-about painted plaster casts of liquor bottle the trailer begs up scenarios of destitution and alcoholism. This frightening work has a metaphorical function that plucks together all the disparate uncompounded bodys in the show. Pelletier, without proselytizing, has made a scathing indictment of our society's oftentimes hypocritical notions of family and home

COPYRIGHT 1996 Brant Publications, Inc.

COPYRIGHT 2004 Gale Group



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