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SUPERIMPOSITION
Making and doing in at time of making-do.
The film and accompanying photographs were taken during a time of re-exposition whilst, mostly, looking at someone else’s formation of exhibition. The Henry Moore Institute became an architectural device, in which to explore ideas through degrees of its compartmentalisation.
The directed compartments were the goods-lift, the disabled-lift, the archive-hold, and the book-store. All are continuing directions / movements in how the building functions in supporting the research institute and its ongoing stature, through catalogue, publication, visitor intake and exhibition delivery.
SUPERIMPOSITION brings these elements together, animating them through movement image so that they may attain a further language. Perhaps a building’s inner workings, especially when its status goes through many changes / transformations, do actually converse: since there is no understanding of space when we are not there to experience it, the next best thing is to make do and use movement to humanise this and try to define it.
This is where the accompanying photography comes in. The images were taken and collected during times of particular inactivity. They focus on the empty space and its quality in transforming languages and ideas through ’empty’ architecture, which in actuality is full of endless possibility.
In addition there are other works from previous exhibiting points of SUPERIMPOSTION. Labelling systems were designed in re-defining the work, what it can be and therefore is at any given moment. Therein a question protrudes: what is the title, the work itself or the label that attempts to explain its positioning and preservation.
Finally, there are a new series of site-photographs that explore a re-visiting to the explored site. The gallery is always at its best during the turbulence and endurance of the interim period, when the technicians, the front of house and office staff co-exist: the building and its workings were always more exposed. This time, the security lighting replaces the fitted lighting, creating compositional forms within in-between space, outside of the gallery looking in.
This is a re-exposition of work alongside a periphery of found photographic compositions. A ‘taking-away’ of SUPERIMPOSITION towards a re-location matches the designs of the Henry Moore Institute’s self-exposition within the virtual domain. Thus, through this work, an ex-employee ties together his new location in Glasgow to his old one on Leeds.
