‘A sequence which corresponds’ is an act of re-allocation. A question of space as a value and a subsequent aim to divert the viewer into a situation where this becomes an evident focal point.
“Don’t leave bulk storage as a last undertaking and forget it. Place it somewhere in the building where it costs less than other rooms - because, of course, it doesn’t need a nish.”
I perform an action. By re-allocating the content of the gallery’s storage room back into the gallery, I free up space. An otherwise utilitarian prosaically functional room is re-appropriated as the exhibition space. Is the predetermined standardised circumstances within which we normally view art a prerequisite for an optimal experience?
By diverting the ow into a cellar storage I make room for a new active work, where artworks were once resting passive, existing only as a commodity in waiting. These works are activated again by their removal and rehousing, brimming in the gallery, still in a wrapped, sheltered state. This is an act that helps pose the question of correlation between a value of a room and its direct assumed value, by default, assigned to any matter placed in this room. Can the gallery ever really become a resolutely practical room?
Is the initial appreciation that of installation or accumulation?
I both remove and add to the main gallery space. Removal of the once strong identity, the gallery’s recognisable vinyl covering the street facing window. Now shows a void between glass and and the un nished facade of the back of the parallel wall. What once was a statement in covering is now equally so in the material reveal of something considered imperfect and lacking in appropriate nish. ‘Adhering to normative standards’ is a performance as presence. An easily recognisable point of institutional authority within the gallery realm. The presence of the Director and her assistant.
A minimal backroom area complete with heavy glass desk, lilies atop and an evident hierarchy between the two roles lends itself to strengthening the question posed. A question normally veiled with intellectual burden and less frequently present scepticism - where is the art?
As a consequence I ask the visitor to take an alternate route, diverting the ow in limited numbers next door, down a few ights of stairs into a new mode of viewing. By removing the viewing en mass I aim to place emphasis on a spacial awareness removed from a socially heavy labour.
“In a circle one can become intensely aware of oneself”
Here, you can tune into the new circumstance, allowing an unexplored situation, both architecturally and intellectually to heighten your senses. Now ready for a two-take commentary on the situation in which you stand. The actor is a temporary mediator as she delivers a monologue with myself as the unseen but present author.
An easily overlooked artefact in the shape of a shirt hangs outside the most private of domains, a door which remains locked; my temporary residence. The artefact is something kept from an extension of the work; A documentation of every-day behaviour. A collection of short trailer-esque lms with the same actor now as a point of authority, the centre of your attention, then a woman caught on tape by a clandestine beholder.