New York

Simryn Gill

Tracy Williams, Ltd.

The sculptures and photographs in Sydney-based Malaysian artist Simryn Gill’s recent exhibition, like her project “Standing still,” 2000–2003, a series of photographs documenting derelict properties throughout Southeast Asia, and Garland, 2006, a selection of waterworn objects found during beachcombing excursions, occupied the shifting and indistinct boundary between abandonment and reclamation.

As is characteristic of Gill’s practice, the works in the show were marked by a visual modesty that belies the ramifications of the stories of their genesis. In Mine, 2007–2009—a collection of spherical objects either found or constructed from bits and bobs picked up near Gill’s studios in Sydney and Port Dickson, Malaysia—the convergence of the personal, the poetic, and the historiographic that makes up her art emerges most strongly through the list of materials, worth quoting in its entirety for

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