A quiet war ensues on the top floor gallery space of this residential building between solidity and impermanence, in that as pieces of art all works are physically present, yet conceptually address themes of transience and ephemerality, the tender moments of transfer from the visible to the hidden, from clarity to obfuscation. Fiona Grady’s spill of pastel-hued geometric patterns across one wall, a simulated wave of colourful illumination, interacts generously with available natural light, enlightening the dull, sluggish crawl of grey of any overcast day and enhancing the sharp, crisp brightness of any given sunny day, a playful, manufactured shadow interacting continually with its environment. Katherine Lubar’s nearly primal images of the play of the stretch and reach of shadow within and just without domestic space (stairwells, front steps) reveal shivers of the secret and mysterious in otherwise open and safe spaces, expertly catching the action of transitioning moments as a day works its way through its cycles to darker, more buried contours. Asaki Kan’s works already contain their own throws of shadow, gently thrumming with a melancholic sense of their own loss and passing. Chris Marshall’s “Bermondsey Window”, comprised of Hartley’s jam and LED lights, occupies an otherwise shrouded side room, the crimson cast of colour hypnotically thinning and deepening in response to exterior light-the room also contains an almost imperceptible hush of light glowing from an open flue in the fireplace. Once aware of it, all senses engage with the alluring tiny gasp of its presence-you want to draw as close to it as is possible, even as it constantly shifts and retreats from perception. The intimate environment of ArthouSE1, closer to the domestic than the public, allows the pieces to reach their greatest potential, as many delicately explore interior spaces both psychological and personal. Many must be found in particularly inconspicuous and untraditional areas-a silhouette of Peter Pan is positioned high up in a small, less trafficked corner of the main room, quite near the ladder which leads out to the home’s roof terrace, as if in a mad mid-leap to freedom; the fireplace holds a pane of glass inscribed with a gentle scrawl of poetry, reflected with the keenest delicacy onto the hearth-the act of having to bend down to read it thoroughly creates a profound sense of communion with its evanescent message. The show is an experience not of spectacular, monumental moments of emotional churn, but instead a series of deftly, softly executed confidential instances of tremendous wonder and fragility, an ever-revolving orbit of tremulous moments of reveal before a collapse back into the elusive. Inside the Shadow continues through 29 April




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