At its best the gallery is an imaginarium, a place in which ideas can be fostered, modelled and tested. In this current juncture it feels art can cross its parameter line with more ease than before; accidentally or with intent finding itself in radically different contexts, being used in radically new ways.
It’s this capacity to cross lines, to bleed that is most interesting to me at the moment, it’s a point in which a work risks collapse, losing a certain vital plane of ambiguity in exchange for becoming real in someone else’s hands.
But perhaps another plane might be opening up at this point, a different register of ambiguity that seeds itself firmly in affect, however small that might be. Untethered from the object work becomes active, its contours, complexity and core registered in the trickle of thoughts and actions activated in the viewer, their groups and the structures they inhabit.
An idea is seeded, then taken up, then stripped back and repurposed for its new environment; but yet something still remains. This new form, a truly collaborative one flows back into the gallery with ease, a form that sits somewhere between the authentic and found and resonates with its interactions.
The gallery at this point has changed function, operating as a memetic platform, a place of exchange in which art is defined as proposition, that once realized can be deployed, held, felt, taken on or rejected.
SEED by Ed Fornieles
Through October 28