Heidi Lau: A Cacophony of Rocks

Sikkema Jenkins & Co. is pleased to present A Cacophony of Rocks, a solo exhibition of new sculptural work by Heidi Lau. Shown in the back two galleries, Lau’s immersive installation of ceramics takes on an experimental sonic dimension in the second room. A Cacophony of Rocks is on view from February 9 through March 15.

Heidi Lau’s practice is driven by an exploration of the malleability and materiality of time. Clay, one of the oldest and most universal materials in the world, becomes the ideal mediator to body forth monuments of the past as testaments to the present.  For the past few years, Lau has been engaged with the zoomorphic imaginings of Shanhaijing (The Classic of Mountains and Seas), a text compiling hundreds of geographies and fantastical creatures dated as early as 4th century BCE. The source narratives of these cross-pollinated species, transmutable beings, and androgynous beasts informs Lau’s sculptural conceptions of a mythical space, interweaving anti-colonial, anti-categorical, non-linear thinking with personal histories as an origin of seeded resilience.

Formally displayed in the first room, chimeric sculptural bodies and figurines made in a combination of clay, glass and bronze evoke mingqi or spirit vessels: burial objects prevalent during Eastern Han Dynasty. Part of Lau’s ongoing engagement with dynamically embodied Taoist ritual items and funerary garments, these objects offer a reassessment of death and its attendant materiality as a vital presence in our living world. Rather than mere containers of spirits, Lau’s vessels propose alternate configurations of time and space, and a generative diasporic position that is channeled through ritual, grief, and memory.

The second gallery presents a slippage into a realm no longer centered around corporeal experience. The gallery walls are flanked by  monumental totems and a rippled archway composed of light blue and sea-green folds and adorned with cradled hands and jeweled orbs. Hovering in the middle of this ceramic enclosure/entrapment is a skeletal representation of Zhulong (燭龍), a primordial creature in Shanhaijing who manifests night and day by closing and opening its eyes, thus embodying time. Rock-like speakers dispersed around the central hanging sculpture like satellites emit subtle tones as sonic remnants of Zhulong. The environment is spatially intimate, yet psychically expansive, a permeable threshold between the monstrous and the sublime; prehistory and posterity; the animate and the inanimate.

The immersive audio and media production in the exhibition is conceived by Anchit Patni.