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My work is driven by two main preoccupations: the human relationship with our environment, and the materials with which I choose to work. I am interdisciplinary because some concepts necessitate a particular form or medium, yet sometimes my concepts arise from a particular material and its qualities, and it is this feedback loop that drives the core of my practice.
My process is like fossilization, at high-speed, with concrete and plaster rather than limestone. I make casts from materials I find around me, such as discarded plastic bags that I find on walks in nature, or from packaging that once contained a disposable one-use manufactured item, whether fast-food or high tech. By filling these now-empty voids, the hidden spaces these forms occupy becomes visible, and timeless, transformed into objects that are stripped of the identifying logos and images and yet remain tantalizingly recognizable.
I imagine that one day they might end up buried as geological relics, in the Anthropocene strata along with the concrete, glass and steel of our cities, for future archeologists to rediscover.
— Alison Jardine, 2019.

Alison Jardine’s concrete sculptures are simultaneously (and perplexingly) playful and somber. Cast into pieces of found plastic debris, these relief sculptures from the artist’s Urban Flora series monumentalize the careless, yet distinct folds of trash bags. Although initially deceptive, the swiftest of second glances reveals that what looks to be a stretched plastic bag is actually concrete. This paradoxical preservation of the insignificant remnants of our consumer culture is only one of many tantalizing dichotomies in Jardine’s work. The sculptures meld geometric and organic forms, are at once seemingly indestructible and fragile, and explore themes of permanence and temporality. In drawing upon minimalist aesthetics, feminist theory, and the dark humor of British pop art, Jardine seeks to create “objects from a future past” that give voice to the achievements and pitfalls of our Anthropocene era.”  Read more…

by Georgia Erger

(Courtauld Institute, Southern Methodist University)

From an article/interview published by Peripheral Vision Arts