Bringing together a group of artists concerned with the way our brains cope with the desire to create emotional and psychological forms.
Theatrical Dynamics - A Conversation
David Leapman & Stuart Elliot
I am curious to see how the spoken and written word initiated the work, and how forces of uncertainty sprout new questions, and old ones. Theatre is such a loaded term in art, it evokes the critical crisis surrounding minimalism.
In one corner, notions of the aesthetic autonomy of the modernist art object, in the other, the 'literal' space of the minimalist specific object and the enfolding of the audience's bodies into the structure of the work. What is behind apparently stark oppositions?
James Reilly's animated watercolour DVD loop of a father and son politely taking turns bash bash bashing each other on the nose. There is physical pain seen, ongoing. But the real pain is unseen below the swish swashing movement of the trouser legs as they disappear under an opaque white infinite ocean. The two appear groundless, or at least the ground is a mystery here.
What is outside of the work seems crucial, but then I am not sure if it is easy any more to talk with authority about what is inside and what is outside of a work. You could say that contemporary art has been formed by shifts from objects to events, or the splicing of these. Dynamic is right.
Meanwhile, hot pan butter making scrambled eggs light and fluffy.
Talking, making, and process. The relationship of process to the idea of differences between 'found' and 'made' objects, and how simple actions/gestures are construed as a kind of language when 'staged' as art. In French there is the term L'objet trouvé, the found object - but there is also also L'objet trouvaille: something stumbled upon, something in one's path. There is painting here, though not just one: there are paintings, there is Paintings. Shared languages inhabited very differently. Formally clear, but bearing cryptic signs. Images yes, but also fields yes, surfaces yes, loops yes, event-object-structures yes.
Opacity on some levels, and uncertainty about navigating the space of interpretation, there are many modes or registers in flux; the exhibition as speculation.