Stuart’s beautiful sculptures look as if they have been excavated from the ground. The folded concrete from some building site, the stacked dusty-brown layers from a desert floor.
‘Life in the Folds’ is an installation that seems to be filled with objects from an alien culture. Comprised of video, sculptural objects, works on paper and a publication, the common thread that links these pieces are strange glyphs, which appear to be a form of language.
If Lai’s work weren’t safely behind glass, one might expect the aroma of baking to fill the gallery. ‘Bread Encyclopedia’, as the name would suggest, is comprised of a series of books, bound in bread. Each volume is lettered and tied with a string, as if ready to carry. And although the work itself dates back to 2008, the books look freshly made.
The scene is like some strange mini-market stacked with objects, that through blurred vision at least, could resemble familiar, everyday goods. Shelves are filled with wrapped packages, bundled objects, rolls tied with strings. Among them are mini footballs, old containers, parts of machinery and even a book.
A couple of years back I came across this beautiful artwork by Brooklyn-based artist Carol Bove as part of an exhibition at the Henry Moore Institute. Bove’s artwork was presented alongside that of Italian architect/sculptor Carlo Scarpa (who’s garden was home to Lee Mingwei’s artwork When Beauty Visits).
British conceptual artist John Latham (1921-2006) is an intriguing artist who frequently worked with books, producing provocative sculptural artworks, works that are attractive from a distance, but uncomfortable and brutal up close.
Michele Ciacciofera’s installation Janus Code (2016-17) is a collection of artefacts that resembles a dreamlike museum exhibit. Apart from the occasional concrete items (a butterfly, seeds, a stone), many are handmade, created with unexpected materials to resemble familiar-looking objects and displayed like anthropological specimens.
A structure floats; the majestic hull of some dream ship. It’s huge, but nearing on the intangible. This is not quite the ghost-like art of Do-ho Suh’s, but evokes a similar feeling; the concrete-turned-transparent. This fragile tableaux is a combination of simple elements brought together to create a striking work.