- Venue
- Attic
- Location
- East Midlands
DOWN ON THE BEACHES
The Exotic – an object that is foreign from its derivation. Does this classification not address most exhibited artworks? Commonly alien in appearance and lacking a lasting home (disregarding site specific works and permanent collection work). Where would we position the work so it can be ‘at home’? Is it where the idea for the work was conceived? With their creator in their studio? Or where the work is destined to be displayed? This deliberate unfamiliarity is capitalised upon in ‘TAKE A BITE OF PEACH’, comprising works from Blue Curry, Rebecca Ounstead, Hannah Regal and Lisa Selby.
The intimate space of the Attic enables a full encounter of all of the works, their intense colours forcing themselves into our view, contrasting vastly with the decaying interior of the rest of the building. Ounstead’s floor mounted fabric print display and bright pink chaps of the same fabric hung on a gloss grey wall from ‘Chaps and Balls’ – 2014 act as a central beacon looking out over the surrounding yellow velvet spheres. The patterned fabric consists of undefinable organic shapes that would struggle to fit a collective style of ornamental quality or wearable garments, yet the chaps are used by a nude male performer who interacts with the exhibition, a part of the show I was unable to experience as he was not present during my visit.
The spheres appear as enlarged peaches in relation to Regel’s real peaches in ‘Tender Hooks’ – 2012. Thin, pale blue latex is stretched over a metal frame creating a familiarity to a coffee table, yet this is disturbed by ten peaches set in the centre of the latex causing it to sag towards the white artificial fur rug underneath, where a quintet of peaches also reside. The piece’s inadequacy to support the peaches fully create an atmospheric tension, hence the title referring to the saying – ‘on tenterhooks’, as if we were to add another peach, the surface may break releasing the stacked peaches. This only to be contradicted by the soft landing the rug would provide.
Examining ‘Tender Hooks’ further I am interrupted by the deep bass fuzz sounds of Blue Curry’s and Lisa Selby’s – ‘Future Memories 01’ – 2013. Two upright, patterned carpet upholstered cylindrical speakers with wiring leading to its power source occupy the rear of the space. White sand is thrown into the air from the exposed speaker’s wall shaking pulse. The short lived and ever-changing formations of the sand encapsulate me leading to thoughts of an accelerated demonstration of the history of a landscape’s topology. The works title directs me toward a bold statement from the piece as the artist’s suggest that I will recall the piece at a later date. This could refer to the technique of listening to music while memorising something for easier remembrance, or to how music can powerfully resonate with us emotionally and attach itself to a certain memory, only to be recalled when the melody is heard.
Accompanied by the heavy bass, I resume my exploration of the exhibition towards Blue Curry’s Untitled – 2013. I am disappointed with the actual piece in contrast to the digitally re-represented one used for the press release of the show. Four square structures created from interlocking plastic combs are placed on a wooden plank are presented in one of the windows of the Attic, a decision that does the work no justice after the expectations of the colourful poster. Although this accentuates the idea of the misplaced that The Exotic encompasses.
Curated by Rebecca Ounstead, ‘TAKE A BITE OF PEACH’ successfully explores our curiosity linked with out-of-place objects, but in some form creates a coalition between them as the works share similarities, creating a temporary home for these otherwise placeless objects.
