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FRONT GALLERY
COUNTER- by Sam Fagan
When collapse is intentional, is it a failure or a success when it takes place? Is it a reassurance of strength or an indication of the repercussions of faults? Through the clinical duress of material, Counter- considers the blurring between these states, where balance infringes on instability, and counter-parts traverse the bounds of assistance and self-implosion. Counter- interrogates aesthetics and function, hand and machine-made. Intrigued by the correlations and conflicts between industrial and graphic design and art of the twentieth century, and equally the interplay of the arts amongst one another, Sam Fagan’s Counter- incorporates elements of sculpture and painting to question construction, constraint and capacity in a progressively technological environment.
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BACK GALLERY
OBSOLESCENCE by Rob Ball
Our Own Mortality: What Can We Leave Behind? Are We Really Capable Of Leaving Anything At All?
Obsolescence aims to explore the disbandment of outmoded technology as an allegory for the human experience of transience and mortality. Through the use of video and analogue sound tapes, Ball notes that we are able to look back and reflect on past human experiences through the evidence that has been left behind. The experience of past places and times are physically woven together in Ball’s work, drawing a parallel to the way in which technological advancements have undone his efforts to preserve such memories. Yet most notably, Rob Ball questions the way in which contemporary life and the abandonment of seemingly outdated technologies eliminates the possibility of future nostalgic reflections. What proof will remain of our fleeting moments when we do longer do?
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UPSTAIRS GALLERY
OTHERWISE by Claire Henly
Otherwise, by Claire Henly, is a collection of window boxes filled with possessions and poetry. A shotgun loader and a pair of shears. White gloves and a thimble. Measuring tape encircles a memory box of children’s toys. Train tracks rest on sheet music. Past due notices, written in ox blood, surround a rhythmical pattern of watch cogs. In each piece, the objects come together to trace the outline of a personality, an emotion, a sense of place. All freeze, for a moment, the ephemeral. The familiarity of the objects and the sentiments they inspire invite the viewer to enter another world. Each piece is at once disconnected from yet intimately linked with our reality. As an exhibition, they evoke feelings of inevitability, frustration even entrapment. Yet, these impressions are only half formed, the stories only partially constructed by the objects and the words. Viewers become part of the narrative.
Claire Henly is a young artist originally from the United States. She works primarily in assemblage and collage however also in painting and photography. She is currently undertaking a degree in Fine art and Biochemistry.
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