Ark Sculpture Exhibition

Chester Cathedral

7th July -15th October 2017

I love encounters with thoughtful, well executed art in unexpected places. Ark is a superb opportunity to experience 90 works by over 50 internationally renowned sculptors including; Geoffrey Clarke, Steve Dilworth, William Pye, Sue Freeborough, Abigail Fallis, Ellis O’Connell, Bernard Meadows, Lyn Chadwick, Barbara Hepworth, Sarah Lucas, David Mach, Elisabeth Frink, Eduardo Paolozzi, Damien Hirst, Antony Gormley, Kenneth Armitage and Peter Randall-Page.  Chester Cathedral itself is a great, living work of Art evolving with the history of the city.  Inside the building there’s a wonderful progression of ceremonial and intimate spaces, architecture that allows the intensity of colour and light from the outside world in. There is also the welcome relief of space for contemplation, freedom of association and interconnectivity of ideas. It’s the perfect place, whatever your beliefs, level of interest or cultural background, to journey to wherever your imagination might take you. The very best works in this show are like portals and exploring where they lead is an enlightening, confronting and immensely enjoyable experience. Outside a white cube gallery space and in the wider context of the cathedral contemporary art can speak in innovative ways, free from the artifice that often surrounds it. Gallery Pangolin have curated an entire spectrum of work from naturalistic, representational sculpture to conceptual works that encourage the wonder of discovery. Positioned throughout the cathedral and grounds, works inform, connect and respond to the architecture, each other and ever expansive concepts of spirituality in life. Nature, evolution and the psychology of belief come into play in surprising ways. In a building filled with fine craftsmanship, sculpture, mosaics, paintings and stained glass, contemporary works can occupy a different kind of stage.

The Birth of Consistency by Angus Fairhurst (2004, Bronze and polished stainless steel, Edition of 3, 91.4cm high. The estate of Angus Fairhurst, courtesy Sadie Coles HQ, London) Photography by Steve Russell Studio

In relation to the Art World the big names are certainly here, but it is fascinating to see how some of them merely absorb meaning from what surrounds them, especially in comparison to lesser known or emerging artists, many of whom are a revelation. This is a beautiful, deeply stimulating exhibition, free and accessible to anyone, that I’m sure many people will want to spend time with and revisit. There are explorations of our relationship with Nature, Spirituality, Science, Art and ourselves in a space that naturally appeals to human aspirations. What I found so invigorating about Ark was the affirmation of creativity as humankind’s greatest gift, an endless source of inspiration and renewal, as individuals and as a species. That self-reflexivity and collective, unconscious drive, to make and to understand, finds holistic focus in the exceptional work of artists such as Steve Dilworth, William Pye and Geoffrey Clarke. There are also artists whose work takes on expanded meaning in relation to the site.

Located in the central nave as an architectural and sculptural focal point, Angus Fairhurst’s (1966-2008) The Birth of Consistency (2004, Bronze and polished stainless steel, Edition of 3, 91.4cm high. The estate of Angus Fairhurst, courtesy Sadie Coles HQ, London) works in brilliant counterpoint with the reach of the architecture. The protagonist is a gorilla enacting the Classical myth of Narcissus, fixated and falling in love with his own reflection. Beholding himself and tearing the mirror away from the earth, there’s the suggestion of the next evolutionary leap- through imagination and self-knowledge, grasping towards higher consciousness. In relation to the presence or even the idea of God, humankind is still a Gorilla peering with incomprehension and vanity into the truth of existence. The industrial shiny black patina and fabricated appearance of the sculpture juxtaposed with a forest of arches and columns works beautifully as a source of ironic self-reflection. The Divine will always be a mystery, forever glimpsed but never possessed by humankind. At base, we are animals armed with the truth and deception of a mirror. The relative scale of the life size ape, akin to human scale and genetics, shrinks in relation to the cathedral’s symbolic structure.

Purposefully positioned at the south transept entrance, Damien Hirst’s False Idol (2008), a gold hoofed lamb in a tank from the King Midas of YBA Art, assumes a different kind of irony that perhaps intended. Here in the dim light it assumes a ghostly presence, framed by the surrounding architecture like a camera obscura projection of value. The suspension of the animal in formaldehyde solution creates an eerie light, like a rectangular, glowing halo around the lamb of God/ the maker as a false idol of religion and Art. The beneficent meekness of the animal is submerged by a master of appropriation. Being situated in a place of worship heightens meaningful associations with the work, however in the wider context of the show, the power of the object and its core value rapidly diminish.

Beyond Materialism by Geoffrey Clarke (1976, Aluminium, unique, 336cm High) Photograph by Steve Russell Studio

Geoffrey Clarke’s (1924-2014) Beyond Materialism (1976, Aluminium, unique, 336cm High) is a stunning work in terms of ideas and execution. Although made in the mid 1970’s, it feels miraculous, as if it was crafted specifically for the exhibition. What elevates it is the sense of timelessness in relation to the human condition. It’s a sublime, intelligent and playful example of how architecture, art and belief can potently combine in moments of pure illumination. Clarke’s sculptural ladder climbs the wall, in elegantly inverted concave parallel lines, the lower rungs closer together, then progressively placed further apart as it rises. Half way up is a saddle-like chair for the weary and at the top of the climb, a cruciform portal-like window is left tantalisingly ajar. The iron-like patina gives the impression of a historical artefact, like something a medieval bell ringer would use to access hidden passageways in the cathedral. Psychologically it is an imaginative threshold to crawl into the belly of the building, a maintenance tunnel for the soul and a potential site of rebirth. The black circular disc encompasses Alpha and Omega, the mysteries of life and death. Discretely located in the right-hand passageway of the nave, resting against darkened, aged stone it feels completely integrated with the site. It is a natural extension of the cathedral’s articulation upward, towards heaven and light, aligned with all our strivings over the course of our very mortal lives.  As the artist suggests in the Ark catalogue; “the first steps are easy. Most of us however, at some stage, either get too comfortable or tire on the climb”. “Humankind’s tendency to search for material comfort at the expense of anything of greater significance” is wryly observed. The seamless integration of this work into the substance of the building and into everyday life is breath-taking. It is a profound and timeless visual statement of what it is to be human.

Coraslot by William Pye(2008, Bronze, Edition of 6, 100cm high), Photograph by Steve Russell Studio

Another astonishing work positioned on the left-hand side of the quire, is William Pye’s (b.1938) Coraslot (2008, Bronze, Edition of 6, 100cm high), which feels like a hymn to the natural world and the human mind perceiving it. It is a pure form and a meeting of unexpected elements with flowing water at its centre. From a distance, it resembles a large baptismal font or boat-like structure whose flat surface, entirely comprised of water, resembles the calm solidity of black granite. It is only when you get closer that the perfectly balanced pool of exquisitely calm water becomes apparent, with an internal flow animating the core. The play of light from the stained-glass windows gives the mystical impression of a bottomless mirror of the soul dancing with light, glimpsed at certain angles as you move around the object at roughly waist height. Gazing into its reflections becomes as natural as breathing, connecting the viewer to the physical and metaphysical world. In the artist’s own words;

“The imperceptible movement of apparently still water

A vessel that assumes lake or ocean

Its surface broken by a chasm

A fault line on the desert

A crevasse in the glacier

A passage to the Underworld

What hidden mysteries lie beneath its tranquil surface

Dance of the blessed spirits”

There are magnificent creatures great and small to be encountered in Ark, including Edouard Martinet’s Crayfish, Anita Mandl’s Aardvarks (Mother and Child), Jonathan Kenworthy’s The Leopard, Michael Joo’s Stubbs (Absorbed) zebra, Elisabeth Frink’s Wild Boar, Geoffrey Dashwood’s Peacock Nick Bibby’s Gyrfalcon, Terence Coventry’s Hound II and Goats I & II.  The presence of these animals in different spaces take on symbolic, archetypal, ecological and historic significance reflecting the city’s long association with Chester Zoo, opened in 1931. One of my favourite mediations on the nature of Nature was Deborah van der Beek’s (b.1952) series of bronzes a little larger than life size; Glaring Cat, Cat Catching Bird, Stalking Cat prowling the inner passage way of the Garth or garden courtyard. Their open forms feel like reconstructed debris, reminiscent of desiccated cats deliberately placed inside walls of buildings for protection. Here van der Beek highlights the darker, predatory aspects of their nature. These feline forms are animated by encrusted three dimensional lines of a first drawn response, capturing the artist’s ambivalence towards their untamed hunting prowess. However, as creatures of the earth they resist moral judgement, complete and sacred in their perfected design.

Becoming by Sue Freeborough (2017, Bronze and stainless steel, Edition of 5, 155cm high) Photography by Steve Russell Studios

Nearby Sue Freeborough’s (b.1941) Becoming (2017, Bronze and stainless steel, Edition of 5, 155cm high) is a superb sculpture of mind, form and feeling, being shown for the first time. The masculine and feminine co-joined figures extend their reach together, with arms splayed and sprouting like elegant branches. With sapling limbs and hourglass confinement inside a metal frame, their bodies merge as one. Suspended in this cage-like space they have a flayed, cruciform appearance, especially in the context of the cathedral. However, on closer inspection pagan, mythological and biological associations begin to surface. The delicate linear structure also has a roughhewn, textural quality and tactile immediacy. The combination of two forms, genders, chromosomes and Freeborough’s alchemical approach to mixing elements, gives her work a feeling of transcendence that is both worldly and spiritual. The artist’s statement reflects her multi-layered approach; “The word ‘becoming’ in philosophical terms is stated as being ‘the dynamic aspect of being’ The sculpture ‘Becoming’ is a symbolic space of being, an ark containing the secret mysteries of human life, of consciousness, reproduction, growth and evolution.” Although her elongation of the human figure in this work echoes Giacomettii, Freeborough emerges resoundingly in in her individual approach to the human subject and material. In another layer of interpretation, the artist’s elegantly fused forms is reminiscent of the ancient Greek myth of Daphne, turning into a tree to escape the God Apollo. It’s a subject sculpted many times in the History of Art, usually by male artists, but here the figures are equal in their evolutionary refinement. They appear not in flight or conflict, but as dual aspects of the human psyche within us all, masculine and feminine elements necessary for conception, procreation and arguably in the balance of attaining a higher state of being.

Cock (Fountain Figure) by Bernard Meadows (1959, Bronze, unique, 155cm high, The Ingram Collection) Photography by Steve Russell Studio

A British sculptor of the post war generation, Bernard Meadows’ (1915-2005) Cock (Fountain Figure) (1959, Bronze, unique, 155cm high, The Ingram Collection) is a manifestation of raw masculine energy. The outstretched wings of the bird and primitive, roughly chiselled head with mouth agape also appear satirical, like the flapping of priestly arms and robes during a fiery sermon. Strikingly illuminated in dappled light from stained-glass windows, the dominance, authority and violence of the figure is both fearsome and theatrical. In greeting the light with a raucously present voice Meadows’ work directly addresses humanity. In his own words; “birds can express a whole range of tragic emotion, they have a vulnerability, which makes it easy to use them as vehicles for people.”

Dagon by Abigail Fallis (2017, Bronze, Unique, 54cm high) Photography by Steve Russell Studio

Another fascinating exploration of humanity is Dagon (2017, Bronze, Unique, 54cm high) by Abigail Fallis (b.1968). This work is brilliantly juxtaposed with Brian Kneale’s curved mirrors inspired by bird’s wings; Curlew (2012, Stainless Steel, Unique, 98cm) and Plover (2012, Powder coated stainless steel, unique, 65cm). Fallis’s Dagon is an intriguing humanoid skeleton bent double, back in on itself with what appears to be an amphibious or reptilian skull. The emerald patina gives the appearance of raw material exposed to water over time, like an evolutionary missing link with a devotional stance, on its knees. The skeletal form appears like the ancient remains of a distant ancestor, crawling out of the primordial soup of our collective unconscious and systems of belief. The hybrid figure has powerful evolutionary and mythological associations, revealed by the artist in her catalogue entry; “this strange fish is believed to have come from the Ark of God. Records show that Dagon, a half fish/ half man deity was worshipped as far back as the Philistines and Babylonians, and was visually depicted in painting and sculpture in Nineveh, Assyria. Our predecessors worshipped this hybrid idol because they depended on a living from the sea and the Earth.”  Even without knowledge of this legend, this introspective form, born of water, earth and our own ancestral bones, speaks on multiple levels. Moving further along the same corridor, Brian Kneale’s (b.1930) work informed further readings of Dagon as a human figure in transformation, creating an interesting dynamic between the three pieces. Kneale’s work, exploring “the problem of what one sees and what one knows”, “the attempt to fuse the two and in a special sense disrupt them” creates a wonderful dialogue with Fallis’s Dagon. Positioned adjacent to each other, Kneale’s silver and black concave/ convex mirrors are abstracts of positive and negative, the distortion and truth of malleable human perception. The inspiration of wings gives the mirrors an aerodynamic feel, whilst his chosen material is starkly industrial and unexpectedly beautiful against the stone of the cathedral. This alignment of three works is extremely potent in terms of burgeoning awareness, displayed as you are about to turn a perceptive corner- literally and metaphorically.

Curlew by Brian Kneale (2012, Stainless Steel, Unique, 98cm) Photography by Steve Russell Studio

Steve Dilworth’s ingenious, iconic Ark (2000, Bronze and Nickel Silver, Unique, 114cm high) and Porpoise (2004/5 Bronze and Sterling silver, Edition of 5 42cm high) regard each other with a window between them, extending through and beyond the walls of the cathedral. The intricate, serpentine curves of Porpoise morph before your eyes in an act of becoming, like an embryonic lifeform, articulated by vertebrae of pure, precious silver.  As you drink in every angle and reflection from the inside out, these objects gradually reveal themselves. The unseen Hooded Crow protected within Dilworth’s Ark is transformed from a despised creature to one worthy of respect, carried within the egg. The incredible interlocking inner structure is as organically fired and pure as thought. The presence, living energy and craftsmanship of Dilworth’s objects is unmistakable, sublime and revelatory. Ark is a vessel which alters perception not just of what sculpture can be, but of worlds within and without. Like Dilworth’s Ark, the whole exhibition enhanced and expanded my perception of the cathedral, the city of Chester and my onward journey.  Restored, rejuvenated and enriched by the inspiring trinity of Art, architecture and ideas, I was even more conscious of Divine creation in the everyday. This is a wonderful show with work of the highest quality, in a truly inspirational setting – hopefully the first of many such events in the life of the cathedral.

Porpoise by Steve Dilworth (2004/5 Bronze and Sterling silver, Edition of 5 42cm high) Photography by Steve Russell Studio

https://chestercathedral.com/ark-exhibition/

http://www.gallery-pangolin.com/exhibitions/ark-at-chester-cathedral

Karla Black and Kishio Suga: A New Order

Scottish National Gallery of Modern Art  22 October 2016 – 19 February 2017

Kishio Suga Condition of Critical Boundary, 1972. Wire mesh, brick, wood, stone (dimensions variable) Installation view at Tamura Gallery, Tokyo, 1972. Photo: Kishio Suga. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo.

Each thing and space had belonged to particular worlds of their own before they were hand picked up by the artist and in these worlds they all had preconditioned orders labelled by nature or by people. Orders here mean ranked situations or hierarchy, whether they have certain parts in the place or not, their values, demands, qualities or quantities…my final point in making artworks is to introduce ways to see and learn about things, to perceive an existing space differently so that viewers can experience a new kind of order. If they can apply their experience with art into their daily life, the new order may find settlement there. I would like to introduce a new way of reacting (to situations) in all viewers.”  Kishio Suga, essay Between ‘being’ and ‘nothingness’ (2005)

The pairing of Glasgow based artist Karla Black (b. 1972) and Japanese artist Kishio Suga (b.1944) is inspired in terms of the questions raised about how we experience the world and the entire arena of Contemporary Art. A New Order is the first in a proposed series of exhibitions placing the work of Scottish contemporary artists in an international context. It is also the first major exhibition of Kishio Suga’s work in the UK, coinciding with his solo exhibition at the Dia Foundation in New York and his retrospective at the Pirelli HangarBicocca, Milan. Part of the informal, pioneering, and experimental Mono-ha (“School of Things”) movement in 1960’s and 70’s Japan, Suga’s work incorporates everyday organic and industrial materials including stone, wood, iron, wire, glass, zinc, earth and paraffin wax. “Rejecting representation” and the “illusionism” of Western Art, he presents the viewer with “situations” where materials are placed in a specific location to explore the relationships between them, the surrounding space and the human mind perceiving them.

It’s easy to be dismissive of the plethora of contemporary artists now working with the assemblage of everyday, found objects/ materials and forget that not all Art evolves out of the same ground of intention as that which the 21st Century Art market made fertile. Although they have become synonymous the business of making Art and the Art World business are not the same thing and this exhibition provides a good opportunity to reappraise expectations of how full, empty or poisoned the Contemporary Art chalice might be. Historically Suga represents a different generational, ground breaking spin on re-assembling the world, a “New Order” of seeing,  which I think is at odds with how many viewers today may initially approach this work, having been lulled into material familiarity. The best works in this show from both Black and Suga arguably have their origins in a ground of understanding beyond an instantaneous, fleetingly bright idea or the desirous draw of certain materials. Connections are made holistically through the senses and with the dynamics or tensions of seeing present in each room. This is particularly true of singular works which effectively command the space they occupy.

Kishio Suga Left-Behind Situation 1972/2012 Installation view at Blum & Poe, Los Angeles, 2012
Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo. Photo: Tsuyoshi Satoh

Kishio Suga’s Left-Behind Situation (1972/2012, Stone, steel plate, brick, wire rope) is a very good example. The first thing that hits you is the smell of timber which is powerfully evocative, pieces in natural states contrasted with veneered, manufactured fragments, placed at intersections in a complex matrix of suspended wires. The primary sensation is physical rather than intellectual, which is unexpected in what might seem like purely conceptual territory. Often when encountering art installations we walk in –get the idea and walk out again; there’s nothing to imaginatively reveal itself and its game over once we read the explanatory label beside the work. What made me smile; standing on the threshold of the doorway to this work and my own curiosity was feeling slightly off-kilter. I like it when Art isn’t easy, when it intrigues or disarms me in ways I don’t expect. I don’t want to hear the punchline first or be told what to think or feel about a piece of work, which is why I avoid all text labels in the first instance to see what the work itself has to say. What I discovered in Suga’s Left-Behind Situation was a pleasing sense of precariousness in play, also seen in Interconnected Spaces (2016, Rock and rope) where the weight of a stone contained in its shadow pins down four ropes, tethered to the gallery walls. It’s strangely beautiful in its simplicity and pregnant silence. The placement of this work in the bare room made space for me to stop and pay closer attention to what was around me and where I stood in relation to the work on various levels. I began to notice circular marks on the floor, whether accidental/ residual or intentional it was impossible to say. It felt as though they were stains around where other placed stones may have stood, or perhaps they were marks left by a different artist from an entirely different show. The point was I was curious about everything in that room, including the marks on the wooden floor. The form and texture of the boulder with its aged erosion and dirt expanded my focus, framed by the tension of ropes. When I first stood in the doorway, seeing this work from a distance, I felt as though time had stopped; a moment before the possibility of ropes snapping to potentially fling the stone across the room, so where I stood in relation to it became a question mark. The large boulder felt like a living entity rather than a dead object, an opportunity for the viewer to pause and imaginatively grapple with their relationship to the raw, natural material and the surrounding man-made space. There is something very Zen about this work which doesn’t stand upon words but the dynamics of perception as an infinitely fluid process. The Art work acts as a point of reference rather than the end product representing, describing or symbolising a certain meaning. In many ways Suga’s work strips Art of its Western preoccupations of attributing value and describing meaning, reassembling materials from the real world so that the viewer can compose their own New Order.

Kishio Suga Interconnected Spaces, 2016.Installation view at the Scottish National Gallery of Modern Art, 2016. Courtesy of the artist and Blum & Poe, Los Angeles/New York/Tokyo
Photo: Sam Drake.

In a similar way I remember very clearly my first encounter with Karla Black’s impressive, resonant installation works in the barrel vaulted Hall of GOMA back in 2012 which floored me with their formal structure and fragile delicacy. (See “Writing” tab of archived reviews)There was so much more in play than just an idea or materials extracted from the mundane domesticity enshrined in an empty white space. The raw material of Black’s Art provoked a multitude of questions and associations, engaging all of my senses in a powerful, unanticipated way. Her painstaking, mindful construction inside that particular architecture naturally spawned layers of interpretation and went a long way to dispelling what I usually see as the Turner Prize nominee curse of endorsement. Ideas or technique by themselves are never enough, nor are they very satisfying for the viewer when seen consistently in isolation. Just watch people in contemporary art spaces the world over reacting to the work and then attempting to marry that response to the labelled attribution of value and meaning beside it. Be assured -your guts are never wrong! All Art stands or falls all by itself, regardless of what may be written alongside it.

What my guts told me about Black’s work in that moment was to pay attention- not to the branded ego of the artist (thankfully not present) which is often the only thing on display, but to the very tactile qualities of the chosen material and my relationship to them as a human being standing in that space, as part of a wider world of imagination. There is something very freeing and also grounded about Black’s approach and intentionality, aligned with the meaning of play in human development, drawn from the unconscious. In a low, horizontal work like Better in Form (2016, Cotton wool, kitchen towel) she encourages us to psychologically get down on the floor in terms of the inner child and move into a different state of sense recognition. Part of this derives from the artist’s own memories of play as a small child; contact with water and sand, but that tactile discovery of the world is universal in all human development. The colour, texture and smell of materials are potent triggers, providing immediately tangible ways into works which resist classification; what the artist describes as “almost” sculpture, painting and performance art, “pulling back” the work before it becomes the label. In Black’s own words; “I think of language as an inadequate, primitive tool. The primary function of the work is aesthetic, formal and material. What comes first is colour and form, composition and scale and then a very firm and separate second comes language.”

Before we learn hierarchies of class, culture and attributions of value, as children we all naturally respond to what we can see, hear, touch and smell with spontaneity and desire. Black’s materials; cellophane, ribbon, sellotape, plaster, chalk powder, soil and dominant palette of pastel baby blues, pinks, yellows and greens are non-threatening, comforting invitations to the viewer. They’re not visually or emotionally cold as they anchor the aesthetic to what is tacit. The shimmer of eyeshadow, lip gloss, petroleum jelly or the softness of cotton wool, polythene and powdered paint exist in Black’s pre-gendered world of exploration and discovery. What convinces is the physicality of material as an emotional touchstone, rather than its intellectualisation through language- it’s about human creative process rather than product or the artist as a brand. Black’s work is refreshingly real in that respect; only abstract in the sense that we are preconditioned to regard Art as something belonging to somebody else, divorced from daily life and the instinctual base of learning that is what we are as a species. Having unleashed my Id standing in the doorway of Gallery 3 viewing Black’s Too Much About Home (2016, Cotton Wool, powder paint, plaster powder, cellophane and sellotape), was frustrating because her work invites closer inspection through touch. The installation is grounded on the floor, extending to the ceiling and one wall, inhabiting the space like a growing organism and creating a topography of feeling in the gradated, low relief rise of teased out cotton wool and scattered pink, yellow, blue and green pastel pigment. You can see the imprint of the artist’s footprints into the middle of the work, still fresh from construction.  It’s a soft, cushion of an island with a triptych of paint suspended on cellophane above, hung from a pliable framework of sellotape, reawakening child-like curiosity, instinct and traditional painterly awareness of composition. Crisp, transparent material is contrasted with comforting hues and cloud-like cotton wool, evoking memories of childhood when we weren’t afraid to make anything. In the corridor outside a series of Black’s hung compositions present evolution of mark and form; progressing from the defined structure of cotton wool balls, flattened into a ground for gestural paint marks, Abstract Expressionist-like fields of overlapping pastel colours which then morph into singular sculptural forms; relatively small in relation to the space around them, but quietly commanding all the same. There’s a sense of play and experimentation with the base elements of Art making; colour, form, line and texture within a subtly equal tonal range.

The sculptural form Actually Mark (Cotton wool, balsa wood and eyeshadow) isn’t monumental in the way we might expect; with a totemic pink plinth of modest scale occupying a room all to itself, the certainty of its edges ambiguously fluffed in cotton wool and coloured by impermanent makeup, attended by a smaller familial blue form on guard near the threshold. The way the works speak to each other in terms of form, scale and colour is an imaginative trigger and although the artist denies gender or cultural associations with colour, they are unavoidable in the mind of the viewer; perhaps saying more about human conditioning than the artist’s intent.  Other Civil Words (2016, Polythene, powder paint, plaster powder and thread) is another example where pink and blue pigmentation isolated in knots are collectively suspended above the floor like a silent pause in an opaque web of relationships. The gentle tensions of the material pulled and knotted into formal opposition is fragile, equally poised and tethered inside a still room. There’s a feeling of slight unease, with the possibility of movement should the slightest breath of air or atmospheric change enter the space. It is a surprisingly human and emotive work made from ethereal, mundane materials and elevated; in physical height and by the act of display in the gallery space. Permanence, commemoration and monumentality isn’t the aim or trajectory of Black’s Art. Instead the focus is on the plinth upon which we place our own expectations and constructs which she encourages us to abandon for something arguably more experientially real.

The felt sense and physicality of the materials speaks when standing in the space that Black’s work occupies because the viewer’s imagination is free to fill it. There are no prescribed meanings, although it could be argued that titles dance along that tightrope. Similarly Suga’s use of Japanese ideograms attempt to resist the descriptive labelling of his Art, although in the context of a Western Gallery space arguably there will always be translations and explanations present. (Interestingly a resources room has been provided in this exhibition.) However Suga’s work is essentially about “Activation” in that what is intended is for the “viewer [to start] to think about what it means”, presenting the possibility of multiple layers of human thought and action without spoon fed conclusions. What said this better than any text ever could was the grainy profundity of Suga’s photograph of one of this fieldworks, Condition of Perception (1970, Silver gelatin print). This documentary image of the residual mark left by a stream of water down a residential Tokyo Street is, even in its spilled state, eternally fluid. That line of water invites your eye deeper into that fixed, two dimensional, but ever expanding space. In that moment captured on film there is something incredibly moving and humane about that vision, even though it is one step removed in being a record of a human action with a natural element in play. My immediate response to this photograph was overwhelmingly emotional. Significantly I felt the possibility of what was being said and the difficulty of communicating a temporary action or art work was overcome by the eye/ mind composing the image and activating the shutter. What shone through the image was intention, openness and hope, placing trust in the viewer to find what they will in that fluid movement between an element of Nature and human nature, which is hardwired to seek understanding.This is an exhibition which challenges the viewer; “I’m looking but am I really seeing- what could that element be? I want to unravel it.”

https://www.nationalgalleries.org/whatson/on-now-coming-soon/karla-black-and-kishio-suga/