Sanell Aggenbach's The Heart Has Many Rooms offers a quiet meditation on affection: actual and implied. The body of work is divided into two distinct areas of interest and both probe the complexities of endearment.
This exhibition consists of monochromatic paintings, her primary medium as art maker. The paintings are of an intimate nature, rendered in soft folds of over and under-exposed personal photographic references. These are tender studies in intimacy where some images are painted on canvas shaped as folded fabric. New large paintings of unmade bed linen serve as a form of abstract eroticism, contour-like shapes of the rises and valleys seen from an aerial-view, not unlike those of the restless lines of maps.
Aggenbach has reinterpreted Michelangelo’s Pietà by echoing the drapes of Mary’s tunic, Christ’s pale flesh and the composition of forms. The original carved from marble. Madre Pietà (2019) offers a more playful reimagining of Michelangelo’s original: the Madonna and Child replaced by two plush toys cast in bronze. The sculpture stands two-metres tall; it’s hard, polished surface coloured in deep warm tones.