​Ané Lategan - artist
Scupture and installations​​​​
Catalogue - 2015

Look to feel to understand

Throughout 2015 my work originated out of my own uncomfortable sensitivity towards certain textures and foods.  I am interested in the human body and how one can be uncomfortable in one’s own skin.   I started using the idea of the abject in my work to convey this feeling to the public.  Abject art[1] is used to describe artworks, which explore themes that transgress and threaten our sense of cleanliness and propriety particularly referencing the body and bodily functions. In the process of using materials such as pig guts I desensitized myself to some degree by arousing others senses. This body of work deals with extreme perception and how that leads to enhance intuitive thinking.  My thinking process is through doing, exploring aspects such as gut decisions (the automatic, mindless thought process that does not require analysis or deep thinking) and my own limitation that arises from my hypersensitivity.

The work’s intent is to create an uncomfortable apprehension in the viewer even just in the process of slowing down and zooming in.  The installations (e.g. Paunch, Viscera) usually consist out of multiple moments that create tension points between the intuitive and the deliberate. There is an element of time and residue in all the work that comes to play with the timelessness of the found objects versus the fragility of the gut. The viewer is confronted with the internal that transgress the boundaries of the body. Using guts as a medium represents the notion of internalizing/digesting the outside world and one’s occasional intolerance thereof.  The intolerance create unabsorbed residues and limitations to certain personal experiences.

There is a sculptural visceral language in this body of work that creates a link between sight and vulnerability.  The duality is between what is visible in the process and what is left for the viewer to decide. The work aims to visually inspire the viewer to contemplate what they are viewing. The introspective aim of my hypersensitivity becomes the focus between my work and the participant/ viewer. This is achieved by provoking the viewer’s senses and curiosity.

[1] Tate.org.uk, (2015). Abject art. [online] Available at: http://www.tate.org.uk/learn/online-resources/glossary/a/abject-art [Accessed 15 Oct. 2015].
dimensions variable
​Balloons, sand, found metal, tin, bronze.

This work is a reaction to Jane Bennett’s book – Vibrant Matter: A Political Ecology of Things, where she talks about “Thingpower” and how objects have the ability to resonate with a person. Paunch represents the opposite by exploring the repulsive and luring ability of certain objects. By balancing these stomach-like forms in such a way that entice the viewer to touch the work while being faced with the possibility that the work might fall. Each setup represents an instinctive moment of making a gut decision.
Installation, dimensions variable
Pig gut, found metal

Viscera aims to create a sense of visceral awareness by looking at the internal bodily abject in an effort to inform the public as to how I see/ feel the world. The work aims to break the conventional barrier between the viewer and the artwork by enticing the viewer to intimately examine what they are looking at and focus on the feeling that arise. This installation goes through a process of drying out in a time span of ±3 days depending on the weather that gives the work an uncontrolled life of its own.
Underbelly encounter
Drawing, 84 x 45 x 20cm
Pig gut

Underbelly encounter is a drawing, with intestines as the mark-making medium. The guts is used to create a three dimensional drawing inspired by various experiences such as milking a cow and the slaughtering of pigs. By creating this type of drawing, I forced myself to face the underbelly of the production of the medium.
Dissecting the gut
Installation, dimensions variable
Pig gut, glue, salt, bronze, found metal,
string, plaster

This work deals with the internal bodily
interaction with the outside world.
By dissecting and investigating the
gut, I play with scale and the idea of
becoming conscious of the world
inside our bodies. This feeling is
translated into different materials to
create various platforms of investigation.
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 Delightfully disgusting
Installation, 162 x 162 x 200cm
Pig gut, coffee, flubber, PVC pipe

The work aims to create a synesthetic experience by working with the sight, touch and smell senses of the viewer. Viewers are encouraged to participate by walking barefoot through the work. Here I attempt to arouse the viewer’s senses with the feeling of flubber (sensory enhancing dough) under their feet, the stark smell of cleaning materials and visually, the coffee filled pig guts. I deal with my own limitations such as not drinking the last bit of coffee at the bottom of a cup by exploring the capacity of the gut. I discovered that even the guts have a limit as to a point that my leftover coffee does not seep through anymore. The residues left in the gut visually symbolises the drawbacks I face every day. Therefore the work intends to heighten the viewer’s sense of discomfort in their own skin through testing their sensory limitations.