New installation at BRANCH 3D, a window gallery in Forest Lodge.
'Colour collection of studio objects'
From 2nd February 2014 - 1st March 2014
Can be seen 9am -8pm Daily
26 Ross Street, Forest Lodge, 2037
More images here
Copy of invite
Georges Perec 'Species of Spaces and Other Pieces'
The window space, and table inside, quickly became a jumble of chaotic bric-a-brac. Ordinarily the arrangements of these things are particular, a combination and play of names, spaces, environments, animals and different processes. I'm not sure exactly what it is I collect—but I'm interested in any thing that is not quite itself, that used to be something else, is in a state of slow unravelling, of losing its name—or that use to do something or belong somewhere fantastical. Then there are some things made special by a lack of use, forgotten or saved, highlighted by their unintentional accumulation of time.
Looking at this mass of objects with all their potential categories in such close proximity, and envisioning them in the window space was slightly overwhelming. Coupled with this was my realisation that I'd rarely worked with such a clean display space, or perhaps given due consideration to the window's nature—to capturing the momentary casual passer's eye, and so I progressed slowly. I didn't mind this slowness, there was pleasure in seeing these objects again, as there was in showing them to Sarah Nolan and viewing them through her eyes—but perhaps sensing my hesitation and witnessing my snail pace, Sarah mentioned in passing how they might look arranged by colour.
I quickly abandoned my unformulated experiment, and embarked on this suggestion. Colour had always held a particular, though undefined, position in my work. It was important, but perhaps I'd always felt a bit self concious of addressing it—worried there wasn't proper credibility in a choice I suspected of being purely aesthetic. I found these colours beautiful, their natural tones pleasing, soothing and rich with texture. Such qualities ask little justification, and their existence always seems a little uncertain, however with closer examination there were also other reasons. I liked the way, in colour terms at least, all these objects could become reconciled to each other. There could be all these other points of tension between them, but materially they were sympathetic.
So it was quite freeing to arrange them like this, to acknowledge that material part of them, and for their categorisation to be so obvious that, for a moment at least, it subdues their threatening anarchy.