51 Oswald Street
This new body of work further develops the artist’s themes of public space and its intrinsic use of private experiences. Marcus incorporates snapshots of specific sites in New York City as both a symbolic and material foundation for sculptural and painterly interventions, ensuring that the works skirt any fixed material categorisation.
In ‘Core’ Marcus has included images of construction workers, various sites throughout Central Park, and publicly sited sculptures. As with much of Marcus’ work, though the images often contain signage, passersby and texts, all seemingly direct, yet a sense of trickery permeates. Each image offers just enough information, affording the viewer a sense of ownership and certainty in their recognitions and assumptions. Marcus plays with these readings by means of layering image upon image, distorting angles, making cuts, draping fabrics and creating multiple focal points. For Marcus, the images operate as hooks on which to catch and layer certain atmospheres, tensions and physical responses. The results culminate in portraiture that call out to something immutable. They are at once painting, drawing, sculpture and photograph.
Marcus uses these iconic sites, and in concert, lets them use her, in order to shift assumptions about physical presence, vision and ownership. The stories associated with each site are often well-known. Marcus frequently takes pictures of places that encourage looking and contemplation: monuments, memorials, artworks and designed outdoor spaces. Industrial materials such as steel and printing techniques associated with advertising and storefronts sit alongside velvets and chiffons just as within the images themselves, parkland meets degraded public sculpture.
In parallel, Marcus frequently plays with language in her titles, using words and letters that often become inherently structural, motivating aesthetic decisions and incorporating double meanings with a sense of humour.