Filter 2004 Helen Maxwell Gallery
In the seven paintings comprising Janenne Eaton’s Filter series, the grid is revealed as the unlikely subject of just this kind of horror story: the story of an ideal form taking possession of a life to which its own rigidity, its own anti-naturalism, is profoundly unsuited, and which precipitates that life’s destruction. The twenty-first century grid has lost its modernist predecessor’s airy detachment from the world. Now, perversely, it is its very abstraction, its disregard for the particular, and its endless iterability which makes it over as a global mesh of forces – political, economic and cultural – which dematerialize and de-animate space and fix and flatten lives.
- exert from, Filter review, Samantha Semmens 2004
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