The apparently arbitrary quality of objects in Anne Ooms's, The Organic Untruthfulness of Woman, conceals a reductive methodology of seductive rationality.
Anne Ooms
Born 1958, Sydney, New South Wales
The apparently arbitrary quality of objects in Anne Ooms's, The Organic Untruthfulness of Woman, conceals a reductive methodology of seductive rationality. Ooms's delicious title – a Freudian term for female hysteria (in which libido is displaced rather than experienced directly), functions as a nurturing womb, begetting progeny.
A text emerges, recalling fantasies of treeless green hills in summer, a black stallion – a city left behind. Loquaciously, the scene enlarges until, decisively, the author forgoes control. Given its own life, the text locates its bare essentials. "A young girl in a warm, large place, beginning a journey."
Of the same genealogy is the parallel conjuring of objects – recognised, found and seized. These sibling objects are but the signs of themselves – mere shells – a simulacrum of narrative, eloquently refined and opaque.
Ross Wolfe from his Samstag essay, Chaos in Heavean
1994 Anne & Gordon Samstag International Visual Arts Scholarship
1994 MFA, Glasgow School of Art, Scotland, UK
1993 Master of Visual Arts, Sydney College of the Arts, University of Sydney
