Penny Coss

2020

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The Long Kiss Goodbye

Anxious Spaces

^{‘THE LONG KISS GOODBYE’ Sarah Contos, Penny Coss, Iain Dean , Brent Harris, Michele Elliot}

^{Lawrence Wilson Art Gallery, University of Western Australia, 1 March 2020 ·Curated by Gemma Weston}

^{Review by Miranda Johnson ·}

The melancholic nature of the exhibition is based in the psychological desire to attach our emotions to objects. This feeling reverberates between each work in the exhibition but is particularly evident in Penny Coss’s work. Coss’s meticulously arranged, idiosyncratic fabric installation ANXIOUS SPACES, is a thing of glorious beauty, rich in texture, colour and mysterious logic. Twice during the course of the exhibition, Coss

performs an intuitive rearrangement of the installation, highlighting the nature of anxiety, which often manifests in the need to control the narrative, stay ahead of any imagined problems, and ensure perfection.

Ruminating in the wake of this exhibition, my central sense of the show was one of how emotions cannot be bound, and the idiosyncratic, surprising ways they cling to beings, objects and memories. Any attempt to contain them, to anticipate where they might land is an exercise in failure. It is an acceptance of the impossibility of controlling emotion while simultaneously exhibiting the sometimes beautiful ways we continue

to try regardless. Thinking through difficult emotions can take you to places you never expected, presenting dreamlike associations and melancholic attachments to objects from your past – powerful talismans with the ability to protect. Or harm.

As the show’s title suggests, ‘The Long Kiss Goodbye’ stills a moment of departure, guiding you through your feelings and suggesting, gently, that you’ll never really be able to let them go.

Pendulum Act 2020 was an iterative performance as part of a group show curated by Gemma Weston for The Long Kiss Goodbye, Perth International Arts Festival artists included Sarah Contos, Penny Coss, Iain Dean , Brent Harris, Michele Elliot Lawrence Wilson Art Gallery, University of Western Australia, 1 March 2020 .

REFLECTIONS ON PENNY COSS: PENDULUM ACTS

Essay by Jenny Scott commissioned by Perth international arts Festival.

From a raised platform that will form the bedrock of her installation, Coss plans to repeatedly reconfigure the collaged arrangement of her works in front of an audience.

Perhaps the artist will unpin a canvas from the wall to reveal another beneath, or gently fold an un-stretched painting, or slowly manoeuvre an awkwardly bulky sculptural form from one end of the stage to the other. At the time of writing, these performances are only loosely choreographed – we will need to attend all three events to find out.

By continuing to rearrange the unstable landscape of her installation after the exhibition has opened, Coss poses a challenge to the idea of her artworks as immutable objects, or ‘final products’. Instead, the artist gestures to impermanence. In the space of the art museum, with its ethos of conservation and preservation, Coss reminds us that things don’t last.

As she touches and rearranges her artworks, Coss’ onstage actions could be seen to mirror her typical movements at work in the studio. This is an opportunity to watch an artist physically interact with her creations – although as Coss stands on a stage in front of an anticipating audience, the performative nature of her gestures will remain clear. This theatrical context changes how we encounter the associated artworks – a large hanging canvas sheet may begin to resemble a stage backdrop, while the papier-mâché forms on the floor become ‘props’ to the act

The shifting art objects, moved around by the unpredictable body of the artist, speak to a subtle slipperiness or a shifting of boundaries. This sense of flux is echoed in the exquisite staining techniques Coss uses to colour her canvases, with their traces of seepage and flow, along with the fluid movements of the fabric works being draped and handled. She seems to be cultivating an atmosphere of gentle unruliness; a reminder that, while they have transcended to their current status as ‘art’, these works can still simply exist as objects in the world.

Coss has said that she sees her work in the studio as an ‘extension’ of the time she spends walking in nature. In these performances, she will be walking through a landscape of her own creation, suggesting linkages between the emotional and physical environment. Perhaps she is signalling that the artistic process is often not a slick, linear path but rather a journey with obstacles, second thoughts, dead-ends and unanswered questions.

Over the course of The Long Kiss Goodbye exhibition different visitors will see different arrangements of Coss’ artworks and, without attending the performances, might not even be aware that any change has occurred. It is only through repeated visits that we will be able to perceive the evolution of the ecology of works on display. In this way, Coss explores the role of memory and the passage of time through the act of returning to a place.

The act of an artist repeatedly returning to their works could be interpreted as joyful; an opportunity for experimentation, second chances and artistic agency. However Coss is also deeply aware of the grief and sense of loss inherent to the inevitability of impermanence. Perhaps, as implied by the title of the show, these performances are a slow gesture to the end – of the installation, the exhibition, everything. Once Perth Festival is over every artwork will leave the gallery and in the words of Coss, ‘things just continue – life goes on’.

Feb 06, 2020.