Good Bones is a neon lighting and sculpture installation created within the space of an old garden shed. The neon lights are a three-dimensional drawing, hugging and highlighting the interior roofline, spreading an even warm glow overhead, echoing the sunlight coming in through the side windows. A reversal happens at night—the bright neon lights lining the ceiling, when viewed from the darkness outside, seem to pour the daylight back out of the windows.
Sculptures that sit on the shelves and hang on the walls meld cast concrete forms with neon lines. Foley casts concrete and hydrocal directly into latex inflatables such as pool floats and balloons, capturing a fleeting cavity made for air, allowing it to solidify in concrete with the neon intertwined. Bent and bulbous forms, squeezed and wrapped by neons, mimic gestures of holding, support, and touch.
Good Bones begins from a place of curiosity about how an installation could adorn, not obscure, this space created for dirt, work, and function. Using the architectural lines of the space itself as a jumping off point, Good Bones reaches for a reverent yet light tone, at home in the warmth of this humble Southern shed.
ABOUT THE ARTIST
Jane Foley (b. 1985, New Orleans, she/they) is a sound, sculpture, and new media artist living in Atlanta, Georgia (US).
Jane Foley has created sound sculptures for the Architecture Triennale in Lisbon, Portugal and La Friche Belle de Mai in Marseille, France with Zurich-based Sound Development City, as well as composed sounds that played in taxicabs throughout the 5th Marrakech Biennale in Morocco. In Atlanta, she has created public works for the High Museum, Dashboard, Flux Projects, Atlanta Contemporary, and the Hartsfield-Jackson Atlanta Airport, among others. Foley currently teaches sculpture and digital media at Emory University, after recently completing an MFA in interdisciplinary sculpture, video, and sound from the School of the Art Institute of Chicago.