The exhibition features aluminium and glass wall-hanging sculptures, some treated with table salt and household bleach; together with an installation on the gallery’s facade of shoe prints in yogurt.
Orr aims to create a language around the potential for minimalism, while attempting to engage contemporary signifiers; specifically aspects of technology and perception. Her interest in minimalism embraces both the didactic and the playful.
Orr’s sculptures engage the codes of built environments, often taking the form of architectural elements such as louvered shades, electrical outlet plates, readymade objects, and fences. These barriers are obscured through a subtle yet determined reconfiguration. Orr uses the phrase, “Architectural Attributes’’ to describe elements of her work: abstracted architectural forms that call attention to the ways in which they structure the space, movement, and meanings around them.
“By emphasizing objects that usually linger in our peripheral, the artist plays with the mechanisms of framing and exclusion, which makes one believe that her medium is not necessarily sculpture but rather perception itself.”1
Sharp Projects’ exhibition, Interior Views, Orr decontextualizes attributes of windows in Working Portal (2025), Yogurt Portal (2025), Sub Pedestrian I and II (2025). Another term Orr uses to explain her work is “Perceptual Scenarios”. These sculptures and the installation on the facade of the gallery, “Shoe-Printed Yogurt”, present varied “Perceptual Scenarios”: mediating principles of obscuring, creating scenarios of how one sees through.
In her practice, Orr continuously uses glass panes as a mediating plane between the viewer and something else. This ‘something else’ could be commerce, technology, another person, from the outside or inside. Glass panes have a substantial symbolic history of being used for consumerism; (i.e. window shopping a way to showcase goods on display). For this exhibition, the installation on the facade of the gallery “Shoe-Printed Yogurt” obscures the glass of the main gallery space with strawberry yogurt shoe prints by the gallery staff and the artist, creating simultaneously a celebration and critique of commerce between pedestrian, and the artwork inside.
“...imagining a person walking perpendicularly on the wall [...] an everyday gesture, walking, just as the structure of the window [...] the footprints are placed vertically and force us to [take] a series of logical steps to understand the creative process.”
Very Interior View (2025) and Framed #2 (2023) are modular, containing components that can be separated and recombined. As important as the final sculptural work, is the ability for her works to be moved and to travel efficiently. These sculptures operate as both figurative and minimalist, evoking class perceptions of architectural attributes. Orr’s ultimate aim is to create a language around the potential for minimalism, while attempting to engage contemporary signifiers, sculpting aspects of technology and perception.
Kilde:
Sharp Projects
Sharp Projects