What’s What in a Mirror

Liam Gillick Sculpture

Liam Gillick, Visuo Vestibular Conflict, 2016. All work courtesy of the artist and Kerlin Gallery, Dublin. Image by writer.

It’s impossible to consider “What’s What in a Mirror” as separate from the rest of the gallery. Rather than a self-contained show, it is scattered throughout the Hugh Lane: encroaching upon solo exhibitions by Alan Phelan and Jesse Jones, dotted on landings, and tucked around the corner of the gift shop. Jones’ expansive curtain, dragged between gallery spaces at intervals as a part of NO MORE FUN AND GAMES skirts the piece Agent Relativity neatly and dramatically; Perceived Lightness reflects visitors searching the display racks for their name in Irish. To see all of Gillick’s work necessitates seeing everything here, punctuated by the repeated stool, mirror and table arrangement. Continue reading

In the Studio with John Rainey

John Rainey Sculpture

On left: The Collapse of Structure, 2014. Parian porcelain and z-corp print. On right: The Assumption of Pretence, 2012. Parian porcelain and z-corp print. Photo by Simon Mills Photography, courtesy of Golden Thread Gallery.

In “On Visibility”, body parts are simplified in form but softly hyperreal in finish; they proliferate and mutate, organs becoming cancerous rather than cells. The sculptures’ alluring deep pigmentation and smooth faces – made in a combination of casting, ceramic and 3D printed processes – are also the source of their visceral body horror. Whoever, and whatever, they reference has been translated a step too far and physically corrupted, concentrated down then multiplied, to shift from physical embodiment to over-representation. Continue reading

In the Studio with Anne Marie Taggart

Anne Marie Taggart Sculpture

Installation view of “Stasis”, Ulster University Art Gallery. Image courtesy of the artist. Photo by Tony Corey

Anne Marie Taggart’s sculptures are not built upon the past narratives of their curious found materials, but upon the effect of their dislocation. The artist brings once familiar, now increasingly alien forms together: scrambling, interrupting and re-routing their timelines, bridging the domestic and the institutional, and playing with the uncanny effect upon us. Continue reading

Jesse Jones, NO MORE FUN AND GAMES

Jesse Jones Sculpture

Jesse Jones, NO MORE FUN AND GAMES, installation photograph. Image by writer.

Robert Altman’s 3 Women originated within a dream, and retains a telltale slipperiness. The film’s main characters, Millie and Pinky, are increasingly unpinned as they go through their intense co-existence in an under-populated desert town in California, skewing, layering and swapping any characterisation that emerges as events unfold. Their qualities are so deeply relative that either woman is hard to imagine outside of their shifting dynamic. Continue reading

Alternative Structure(s)

Sculpture

Sticky Encounter (2016), Saoirse Wall, video still. All images courtesy of the artists.

Augere is the Latin root of both ‘author’ and ‘authority’. Despite its initially positive grounding – meaning to increase, originate, promote – this connection shows the implicit hierarchy within the act of information. A division of power appears between those that propagate and those that consume, be it conscious or otherwise. Continue reading

In the Studio with Rachael Campbell-Palmer

Rachael Campbell-Palmer Sculpture

TERRA FIRMA, Ps2 Gallery, 2014. Image courtesy of the artist.

In Rachael Campbell-Palmer’s latest show, Methods for Egress, the stuff of architectural interior space becomes delicately extroverted: angular and abstract forms muscle in to the gallery, forming a part of space and mirroring work within. These sculptures and installations’ industrial materiality is both exploited and somewhat muted, creating a relationship to the viewing bodies around them, altering their movement throughout the space, and expanding on their memories and impressions of built form. Continue reading

In the Studio with Laura O’Connor

Sculpture

Image from sweetheart performance and multitasking workout, still from Google hangouts stream.
Image courtesy of the artist.

A long skipping rope trimmed with blonde synthetic hair is one in an excess of activators in Laura O’Connor’s FIX15 performance. A female character uses the laden rope to follow several windows of instructional “jump rope” videos that are projected against her body. American production values, accents and pounding music collide; the constant changing and combination of techniques break any attempt of establishing a rhythm. With no foreseeable conclusion to this character’s exposure, we see her attempt to do it all, re-interpret, misinterpret and fail, in a long blonde wig and spanx, all whilst being streamed on the Internet. Continue reading