- Venue
- Bonnington Gallery
- Location
- East Midlands
What a load of shit
Review of Craig Fishers work in the ‘Closely Held Secrets’ exhibition at the Bonnington gallery.
“What a load of shit” said an anonymous student.
“What do you mean shit? I think it’s quite good“, replied another anonymous student.
“No!” the first student says whilst laughing, “That’s what the piece is called.”
‘What a Load of Shit’ is a textiles piece that stretches over an area roughly 7×4 meters. The work has a bright yet limited colour pallet of strong pinks, darker greens, browns, greys and various blacks. It resembles some kind of catastrophe or breakdown; pink planks of wood sit in a pile with random shapes and what I assume to be bird shit splatters assorted randomly in, on and around the work. It juxtaposes well with the surrounding work from other artists, the curator of the show was obviously very particular with the placement of this piece as well as it’s careful lighting.
Invigilating the closely held secrets exhibition gave me the unique opportunity to sit in the presence of this work for over seven hours. Presence in this case would be the correct word to use, the work has a real aura about it. In fact being somewhat of a people watcher I’ve observed that the exhibition goers mimic the plug hole effect, once the viewer steps into the gallery they work their way around the exhibition until they reach ‘What a Load of Shit’ in the middle. The piece itself is quite playful, the shapes are generally always rounded off with no hard lines or edges. It’s bright colours and bold shapes are like those you might find in a playroom or a day-care centre. I would suggest that ‘What a Load of Shit’ is no different, the work is big, bright and occupies a significant amount of floor space, even it’s appearance looks as if it’s been subjected to a rough playtime session at a pre school. It also commands a significant amount of respect within the gallery; as I said previously people seem to be walking around the whole exhibition almost as if they’re building up to the pink mass. It’s like people are being ’good gallery goers’ taking in every bit of art work until they finally arrive at the work they want to bend down touch. It may be that the strict boundaries regarding the touching of artwork is the only thing stopping young and old alike picking up the work and having a play. I can’t emphasise enough the overwhelming want I have to touch the work, it’s almost as if it’s inviting me to do so. This isn’t helped by the nature of the presentation, because of it’s chaotic roots there is no boundary stopping you from getting really close to the work. Parts stick out more than others suggesting it’s okay to come as close as you want. The kid in a candy shop really springs to mind here. Due to it’s scale and colour there is no avoiding the work, so with people obviously clocking it’s existence why is it being left until the end? Perhaps like a roast dinner you save the best until last? I can only deduce that ’What a Load of Shit’ is comparable to a selection of particularly good roast potatoes.
Craig Fishers piece is the most visually commanding in the whole exhibition. However this is no easy feat, there is no single piece of work which doesn’t contribute something to the exhibition as a whole, I tip my hat once more to the curator. Craig’s work is just really interesting to look at, regardless of it’s conceptual prowess it is just something really nice to be in the presence of. It reverts me back to a childlike state in all honesty, like ice cream the bigger and more colourful the better it is. Craig’s work is the same for me, it’s big it’s bold and it’s completely beautiful. Its also presented well, the advantage of being a three dimensional piece means that you can have several different encounters with the work, each time seeing something you previously hadn’t. It’s the skill of the artist that makes this interesting, this work is a paradox in that it‘s a chaotic shambles that‘s been so precisely assembled. The artist has been very particular in the organisation of the piece, it’s layout and it’s remarkably obvious to me that it’s taken a significant amount of time to put together.
There is a wonderful contrast in Craig Fishers work, he likes to make horrible looking things look beautiful. I am completely drawn in by the conceptual side and I think in particular this work is fascinating. Previous examples of Craig’s practise involve making detailed embroidery of piles of sick, soft knuckle dusters, tables of knives and hooks as well as blood splattered on the wall. Quite a grotesque set of scenes that might be better suited to a private and confidential police file rather than admired and observed in art galleries. But this is what adds such a charming quality to the practise, everyone knows that knuckle dusters and knives are associated to crime scenes and aren’t particularly beautiful to look at however Craig transforms them, giving them a new context and forcing the viewer to interpret them in a different way. There is also a humorous side to the work, soft knuckle dusters are completely redundant, this element of the work is quite charming and you could also argue that there is a social commentary emerging. Perhaps Craig’s perceived objective to beautify the scarier and slightly taboo elements of our society is a coping mechanism or even a means to comprehend it? Rather than making work for the sake of being beautiful, he re-constructs quite chaotic scenes, ‘What a Load of Shit’ as a title already is quite suggestive, but in my opinion, it couldn’t be further from the truth.
By Joseph Cerski
