{"product_id":"maron","title":"Maron","description":"\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eMarron\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eStephanie Burns\u003cbr\u003e1994\u003cbr\u003eBronze, polychrome patina\u003cbr\u003eUnique\u003cbr\u003e\u003cspan class=\"s2\"\u003e\u003cb\u003e45.7 × 16.5 × 20.3 cm\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cbr\u003eCast and patinated by Ken Cook\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eMy first encounter with marron was when I was about seven years old in Western Australia, although we called them \u003cspan class=\"s2\"\u003e\u003cb\u003egidgies\u003c\/b\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e then. I remember my mother’s double concrete laundry troughs being full of them, crawling over one another. These were the same troughs where she scrubbed clothes using an old glass and wooden washboard before putting them into a washing machine with a wringer at the top.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe sight of these strange, armoured creatures occupying such an ordinary domestic space stayed with me.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eYears later, when we had a farm, I encountered marron again around Pemberton in the south west of Western Australia, where they grew to a much larger size. I became fascinated by their segmented bodies, articulated legs, antennae and enormous claws, but particularly by their extraordinary colour.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eWhen Ken Cook cast \u003cspan class=\"s2\"\u003e\u003ci\u003eMarron\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e, I painted the plaster to show him the colours I wanted in the patina. Ken found the colouring difficult to believe, so I had to send him a photograph of a live, uncooked marron. Crustaceans are commonly seen after cooking, when they have turned red, whereas living marron can carry remarkable greens and blues across their shells.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eMarron\u003c\/i\u003e\u003cspan class=\"s1\"\u003e is also connected to my larger bronze still life \u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eDinner with Trimalchio\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e (1994). The marron form is one of the individual sculptural elements from which that work was assembled, with a red patinated cast appearing within the composition.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe idea of allowing a sculptural element to have another existence came partly from Auguste Rodin. I was interested in Rodin’s practice of reusing and recombining forms, allowing figures or fragments conceived within one work to reappear within another or to exist independently.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eI adopted a similar approach with a number of the objects surrounding \u003cspan class=\"s2\"\u003e\u003ci\u003eDinner with Trimalchio\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e. \u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eMarron\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e is catalogued as a unique independent bronze, while the same sculptural form was also cast for inclusion within the larger work.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eExhibition history\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003e1994\u003c\/b\u003e\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eCoventry Gallery\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cbr\u003eSydney, NSW, Australia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003e2018\u003c\/b\u003e\u003cspan class=\"s1\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e\u003ci\u003eElysium Verto: Paradise is Changing\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cbr\u003eLos Angeles, California, USA\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eRelated work\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eDinner with Trimalchio\u003c\/i\u003e\u003cspan class=\"s1\"\u003e, 1994\u003cbr\u003eBronze\u003cbr\u003e67 × 81 × 86 cm\u003cbr\u003eEdition of 6 intended; one complete example cast\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eReferences\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p1\"\u003eJohn McDonald, \u003cspan class=\"s2\"\u003e\u003ci\u003eStephanie Burns: Recent Sculpture\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e, Christine Abrahams Gallery, Melbourne, 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eKen Cook: Out of the Workshop\u003c\/i\u003e\u003cspan class=\"s1\"\u003e, Pangolin London, London, 2022.\u003c\/span\u003e\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41315552198728,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/IMG_6568.jpg?v=1786965875","url":"https:\/\/stephaniefullergallery.com\/products\/maron","provider":"Stephanie Fuller Gallery","version":"1.0","type":"link"}