" Her work
captures the tropes of
modernist monumentalism and contrasts this with items from the realms
of the
familiar in ways which are both provocative and evocative.
This series
of works features renderings of
articles of domesticity such as boxes, sheets, bags, suitcases and a
sofa at
life size with addition of diminutized monuments; disassembled archways
and
pyramidal columns. At first glance, the work appeals simplistic,
perhaps even
banal and austere and the product of arcane aggrandizement, but this
impression
is an entirely false one. Intertextually, the works create a hubbub of
conversation, highlighting the frisson between mind and body, the
erotic, the
corporeal and the cerebral. An architectural observer noted that the
detail
lines were illuminating, and the shadowing was suggestive, slightly
sinister
and deeply subversive. The real subversive quality lies in the
rendering of the
various images in contrapuntal connection, creating a new landscape
which
fetishes the monumental and eroticizes the familiar; the notes playing
harmony
and discordance. The pictorial incongruity belies a sardonic fidelity.
The
pieces offer tantalising glimpses of alterior space; what is not
revealed is
just as powerful. 'Box' seems to concatenate these strands of ideas,
the arch
and the column inside the shaded box suggest alteriority, confinement,
darkness
but also, paradoxically, more ambrosial readings. The most voluble
piece is
'Book'. The masculine, supplicant, speaks on the outer trying to
relitigate
with the interior feminine, a world of arcane knowledge and almost
mystical
fascination. The voice could be plangent, or conversely dictatorial or
conciliatory.
It is the
suggestibility, the multiplicity of
readings which makes Horner's oeuvre noteworthy. In a sense, the pieces
are
contemplative. Though the mono print panels of the impressive larger
work
'Couch' display technical proficiency, it is on the conceptual plane
where the
artist generates a font of ideas and inspires paradigmatic shifts in
the viewer
or the listener (though the audio is metaphorical rather than actual)."
Trevor
Landers
'Monumental obessions’, Vibe, issue 7, (2003).