Brigette NorcrossUntitled
Laxmi JhunjhnuwalaUntitled
Victoria SheldonThe land series
Clinton Cardozo
Untitled 1 and 2
Charlie McLean
Clinton CardozoUntitled 1 and 2
Charlie McLeanA dark world turns light
Simon Stuart
Simon StuartGrid
Woman in Grid series 2; Homage to the horizontal axes
It was recognised a long time ago that this particular group (being made up of three photographers and three painters) would have trouble getting enough wall space to share around. I was curious to see how dramatastic this show would be especially when I heard about a painting being wrapped around windows...
Which really only turned out to be hearsay as Charlie’s painting was yes, hung in front of windows, but most certainly was not wrapped around them. Good way of using Gallery 3 space. However, issues of lighting and hanging rendered it hard to read with my interest going towards the set of drawings opposite instead.
But I view Charlie’s works as a pivotal point in the show. It is the first piece you experience as you walk into the gallery and to me, sets the tone for the rest of it. Charlie talks of emotionalism, which automatically stirs up thoughts of social responsibility. At least four of the six wishes the viewer to experience some sort of emotion when interacting with their work. But what of this emotion? What kind of emotion were they striving for?
I do not believe it was a yearning towards humanitarianism that they really wanted us to feel. Instead, I see this show as six individual works, perhaps wishing us to ‘take a breather’, directing us towards an inner space.
Laxmi’s piece was successful with generating some sort of visually overwhelming nature. But the longer you spent with it, the less you felt that you could interact with it. This is mainly due to its positioning. In the past, Laxmi would place these works in areas where there was a higher danger of being disturbed. I feel as though the alcove was safer and created a piece that was more zoo-like, too easy to look from behind the architectural cage. I do find this an interesting relationship to painting, especially the hard-edged geometric painting that Laxmi is so interested in. With a piece so reliant on perspective, what happens when you restrict the viewer’s ability to...view?
Simon’s paintings may highlight the need to take time away from a larger, virtual whole, the blurring between public and private. Although I feel he was probably the last person to decide what space he wanted to place his work (I told you to fight for your right!!), I see it has almost worked in his favour as he played with the notion of axis in his install.
Clinton’s photographs were probably the most engaging in the show. He has really taken an idea that could potentially be really naf (people wearing masks) and has pushed it to an area that is more hazy than clear. I like the openness of his work showing sensitivity towards the viewer. He was probably the luckiest in terms of getting a space that was generous to his work and this showed in his install.
The issues with the space did reveal themselves, mostly due to the sidelining of Victoria’s photographs and Brigette’s placement of paper over the windows. The punctuation of the windows is starting to grate at the reading of pieces in pilot shows and I’ve yet to see anyone actually attempt to build walls in order to create a more uniform surface to work with.
Something to think about perhaps?
- Agnes
Woman in Grid series 2; Homage to the horizontal axes
It was recognised a long time ago that this particular group (being made up of three photographers and three painters) would have trouble getting enough wall space to share around. I was curious to see how dramatastic this show would be especially when I heard about a painting being wrapped around windows...
Which really only turned out to be hearsay as Charlie’s painting was yes, hung in front of windows, but most certainly was not wrapped around them. Good way of using Gallery 3 space. However, issues of lighting and hanging rendered it hard to read with my interest going towards the set of drawings opposite instead.
But I view Charlie’s works as a pivotal point in the show. It is the first piece you experience as you walk into the gallery and to me, sets the tone for the rest of it. Charlie talks of emotionalism, which automatically stirs up thoughts of social responsibility. At least four of the six wishes the viewer to experience some sort of emotion when interacting with their work. But what of this emotion? What kind of emotion were they striving for?
I do not believe it was a yearning towards humanitarianism that they really wanted us to feel. Instead, I see this show as six individual works, perhaps wishing us to ‘take a breather’, directing us towards an inner space.
Laxmi’s piece was successful with generating some sort of visually overwhelming nature. But the longer you spent with it, the less you felt that you could interact with it. This is mainly due to its positioning. In the past, Laxmi would place these works in areas where there was a higher danger of being disturbed. I feel as though the alcove was safer and created a piece that was more zoo-like, too easy to look from behind the architectural cage. I do find this an interesting relationship to painting, especially the hard-edged geometric painting that Laxmi is so interested in. With a piece so reliant on perspective, what happens when you restrict the viewer’s ability to...view?
Simon’s paintings may highlight the need to take time away from a larger, virtual whole, the blurring between public and private. Although I feel he was probably the last person to decide what space he wanted to place his work (I told you to fight for your right!!), I see it has almost worked in his favour as he played with the notion of axis in his install.
Clinton’s photographs were probably the most engaging in the show. He has really taken an idea that could potentially be really naf (people wearing masks) and has pushed it to an area that is more hazy than clear. I like the openness of his work showing sensitivity towards the viewer. He was probably the luckiest in terms of getting a space that was generous to his work and this showed in his install.
The issues with the space did reveal themselves, mostly due to the sidelining of Victoria’s photographs and Brigette’s placement of paper over the windows. The punctuation of the windows is starting to grate at the reading of pieces in pilot shows and I’ve yet to see anyone actually attempt to build walls in order to create a more uniform surface to work with.
Something to think about perhaps?
- Agnes
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