Artist Helen Robertson’s Echo is a transmedial figuration, which positions a number of interrelated works across the spaces of the Danielle Arnaud gallery. Echo stages a set of performative associations between several historical figures – artists and architects: male modernists – artist Donald Judd and architect Mies van der Rohe – and the women who worked with them, often obscured from history – Edith Farnsworth, Lilly Reich, and Lauretta Vinciarelli. Robertson’s response to the absences of these women in the archive is not simply a work of retrieval. When returning to them, Robertson’s artistic practice puts motifs of absence and presence into play, and brings the work of other related artists and architects who come later into the frame too, so re-positioning these earlier contributions. In so doing, Robertson intervenes as an artist into feminist architectural history – producing links that are visual and spatial, indexical and associative – and that I describe, via a series of turns and re-turns, though which I continuously re-situate myself in the work – as ‘figurations,’ .[i]

https://www.daniellearnaud.com/exhibitions/exhibition-helen-robertson.html

[i] Jane Rendell, ‘Figurations,’ The Architecture of Psychoanalysis: Spaces of Transition, (London: IB Tauris, 2017), pp. 209-224, and Jane Rendell, ‘Figurations,’ https://www.practisingethics.org/principles#figuration.