Mémoires du Futur, la collection Olbricht.

LIZSAYS:
First a word from our sponsor: I have to say it. I am stating it loud and clear, in the forest where no one hears the tree fall, Art must have beauty, Beauty leads to Transcendence.
Now, back to the show, Mémoires du Futur, la collection Olbricht.

So many little hells people are willing to make. And, to live in.
There were some fine pieces in the show at the Maison Rouge but so much hell, murder, death, again the omnipresent skulls, so many little tortures for our minds to digest.
Most of the pieces in Memories of the Future/ Future Memories, were modern works derived from or related to older works (15th - 18th century ‘ish). Saints blithely being tortured to death, visions of what will happen to you when you are bad, and we know are all bad, we have been told that ad nauseum.
But, there were two artist’s pieces that transcended the common obsession with cheap, titillating ugly and pain and gore.
The first artist is Alastair Mackie.
His piece was a mirrored bell jar on a over sized pedestal. The bell jar had been painted with the mirroring substance on the interior, opaque on the top, thinning to a slight translucency  towards the bottom. I could see that something was inside, perhaps a stuffed falcon, I could see the bottom of its tail and talons, if I could only get the right angle it. But, the more I searched for what was ‘in there’ the more I saw myself, looking through myself for what I could see. Fantastic!

The other artist, Kate Mccgwire, was also Victoriana to the extreme. Her 2 works were made of feathers in large old vitrines on the thin elegant legs of their period. The voluminous works were filled with motion, at once solid and  full of air. One was mostly white, made of pigeon feathers and the other was black crow feathers the crow feathers made a tight figure 8, or logos, which is a symbol for infinity.

I searched on her name, Kate Mccgwire, and found both pieces at this site.
http://www.hifructose.com/the-blog/1859-kate-mccgwire-in-paris.html