In an era dominated by the click, swipe and scroll, fractured attention distorted to the most cursory glance, this new exhibition insistently demands a certain rigour of observation and attentiveness to each work, a close, abiding engagement slowly undressing layer after layer of meaning and intent. Many of the pieces reflect on their own process of creation-a fair few excitedly exploit the sensuality of texture, inviting a keen, woozy, nearly illicit interest, a canvas of colours, shapes, sinuous movement whipping up to wild abandonment (Alexis Harding, of this I find you especially guilty-even his fairly tame cosmological studies are a lush, twisting, cuddling embrace of black and greyish white). The compact frames of Donal Moloney inversely contain a multitudinous convulsion of intricate ephemera, a hurl of narratives both natural and fantastical raging and colliding, an imagination split wide in multivalent surge; Antoine Langenieux-Villard’s ravaged frames, torn, slit, overlaid-exhaustively worked-pulse with tension, an unsettled confusion and conflict between start and finish, the certainty of the order of construction remaining troublingly hidden and unresolved. The collaborative, “exquisite corpse”-like works of Sarah Kate Wilson, made in concert with members of the public, are shrink-wrapped emotional curations, each item contributed a significant individual remembrance of a past event or conversation revealed through a profusion (and diffusion) of objects, artist and subjects inextricably linked in a manufactured rapture, packaged and “shipped” for spectacle; Jim Cheatle, Peter Lamb and Alison Goodyear, in various disciplines, dimensionally reference and reproduce and rework elements from previous (or the same) works-or from their physical environments-directly onto their work, Cheatle most explicitly investigating the gap between “flat” simulation and the flagrantly genuine, topping his frames with egregiously present, lusciously glistening pastel swirls and globules impossible to evade. All the artists direct attention inwards, through the frame, to all levels of context, allowing the viewer to apprehend the full weight of the image, a clear rebuke to the facile churn of consumption of the digital age, reasserting the supremacy of a physical, material interaction. Of course, I’m well aware the photos accompanying this post are no substitution for a real, in-person communication with the works, where their complexities truly manifest. Substantifs continues through 27 April


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