|Libby Hage: Sympathetic Connections|
Libby Hague described her experience of showing her work at the AGO for this post:
"I was thrilled when Michelle Jacques gave me this opportunity because the AGO is a fabulous building. Its prominence even got me the respect of the eavestrough guy and I thought - "Oh, that's how it works." More practical is the reality that until I have a specific gallery to work in, I am more or less only rehearsing. My own studio has a grungy functionality but there are too many things in it that interfere with my ability to read the work. In my studio the work is developed in sections and rather hopefully, if abstractly, in my imagination. Installation artists need spaces like painters need paint.
|Libby Hague's installation at the AGO|
An initial problem which proved very useful was caused by the mirrored facade on the Gehry reno. It makes it impossible to see in the gallery except at night and so happily the AGO accepted my proposal to do an intervention on the outside window as well. This links the lines of the Gehry facade, the Henry Moore on the corner and the sculptures I made inside. Once it was up , I loved how the mirror glass moved tour buses, people - Dundas St. through the piece. It feels alive.
|Libby Hague at the AGO (exterior view)|
My reading of these two elements, the sculpture and the power plant, is that no happiness is so certain that it can't disappear in an instant nor is it so simple that it is uninflected by danger or risk. A second reading , which I don't usually entertain, is that the sculpture is the disaster - post nuclear mayhem loosed upon a world that loves a good disaster from a position of safety, of course.
The show is up until September 11 and right now I am struggling with the possibility of having a puppet intervention that afternoon in the gallery."