The month of August for London is the holiday month for London in regards to art. Not so in Hackney.
A group exhibition at Fold Gallery this month curated by three artists that are also in the exhibition. As far as summer exhibitions go this is set up for a bland, over-hanged space with absolutely no room was made for cohesion. It was a surprise that Unrelated Oxides exemplified a focus in a group exhibition. The premise of the exhibition is a correlation with a quote, by Sebastian Faulks, that describes a literary space that is defined by its contents. Language as a material surface was evident in every work by the eight artists. Amanda Wasielewski sound piece affects the viewer psychologically the moment when entering the building. There are three floors of colliding sound that offer a cacophonic experience leading up to the gallery. She recorded former waterways in the North London area, which confuses the viewer’s sense of history and present space. When entering the gallery, in the middle of the floor two shiny disks lay on the floor with a grid of liquid metal dots. In gazing into its reflections I can’t decipher the encrypted metaphysical language. The artists Joshua Kim, titles the piece, Promise Everything, Deliver Nothing; it’s an extracted phrase credited to Napoleon Bonaparte about achieving success. This connection with a historical figures's failure/s enters the piece into the canon of the philosophy of language that gives insight on desire’s inability in communicating a form that speaks of anything other than desire due to language’s shortcomings. His sculpture of two bullets colliding, suspended in perspex is a promise of an event that, to me, is a lie. The suspended moment of the bullets parallels a desire to believe and reveals propositions of the possibilities in reality. This pair of objects is a peculiar use of philosophy as an indirect mode of the political.
Dan Shaw-town’s sculpture drawings form an object made from paper saturated with graphite and paint that projects an image of the logic of plasticity. His wall sculpture on appearance is dense with solid forms projected from its surface, however its process is an accumulation of material that is fragile. These layered qualities of the dense and the fragile display an idea of the surface as temporal space. Susan Kordalewski autobiographical comment on language manifests in a form of a book called, Every Word I Know. She has catalogued all the words from her personal writing and complied them all in a traditional media object. This index attempts to offer her personal self to intellectual critique but ultimately any access to an interior of her existence is denied to herself and the viewer by the process of the medium. This exhibition on the surface as a language operates like a potpourri of images and objects continuing the theme of a “summer exhibition”. Unrelated Oxides's premise is a critique of how objects and images define, translate, and interpret each other. This collections of artists are constructing a space describing that existence seems to have an interior. The idea of an interior experience that holds our desires and beliefs has had a many philosophical and psychological efforts to reveal this plane of existence. These artists in Unrelated Oxides define and translate the boundries of our language, knowing that language is only a tool, not the real.