The Ingleby Gallery's most recent exhibition features resident artist Roger Ackling and project artist Andrew Miller. Entering the gallery, Millers work is located in a small room to left of the reception. Miller’s Barbara Anne has an immediate visual impact on the viewer: a tower of precariously stacked domestic lampshades with a single florescent light running through the centre. Miller's work champions the found and discarded object, giving this detritus of life a new function as an artwork. These everyday objects achieve vitality through the re-composition and the relocation into an artistic environment. Miller's work sets the tone for the rest of the exhibition and the use of the banal becomes a reoccurring theme.
Gallery one accommodates the work of Roger Ackling. A single black washing line with a series of meticulously placed halved pegs greets the viewer. The exhibition is set out like an installation; all the objects are placed at the edge of the room against or mounted upon the walls. This curatorial aspect works well, drawing the viewer to take a closer look at each individual piece. Like Miller's work previously, Ackling's practice is entirely dependent on quotidian objects. The articles in this exhibition for instance, being sourced entirely from the domestic contents of Ackling's garden shed. Every one of the chosen objects has been marked by the artist. Using a magnifying glass, Ackling precisely burns a range of detailed linear patterns on their surfaces.
All in all, the Ingleby's curatorial decisions are the definitive highlight of the show, creating an exhibition that works on many different levels. The current collection is a surprisingly fresh vision of the tried and tested relationship between the familiar, mass-produced object and contemporary art practice.
No comments:
Post a Comment