Much as Katharina Grosse was invited in early Autumn to take a spray-can to the walls of the main space of South London Gallery in an aggressively thrilling irruption of roiling waves of harsh colour (cunningly titled This Drove My Mother Up the Wall), so, too, has French artist Du Pasquier made the most of the encouragement to  transform the central rooms of the venerable Camden Arts Centre with playful lines and forms of architectural geometry. In both cases, the artist has broken free of the constrictions of canvas to utilise the spatial physics of the room itself to establish environment. Strips of brightly coloured paper run the course of the walls, wreaking frisky havoc with perceptions, while dimensional modular designs and structural ephemera float about the surfaces of the constructed rooms situated in the middle of the gallery, suggesting a cityscape the artifice of which is held as a principle. A friend likened moving through the space as being caught inside the mechanics of a video game (my own analogy would equate the experience to drifting through a pleasantly firing computer modem). Du Pasquier has built immersive domestic spaces within the middle rooms, plastering the walls with near-hallucinatory, rigorously patterned wallpaper, against which images of objects (bare insinuations of furnishings, cameras) thrust out with three dimensional force. A founding member of influential Milan-based  design group Memphis, Du Pasquier remains austerely focussed on form and function, which lends her work an interesting tension between the lively and steely, vivid in detail with curious cold-blooded undertones. She no doubt explodes the formalities and courtesies of the traditional negotiation of the gallery space. Other Rooms continues through 14 January



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