Group Show: Run 'Run'
- Alexander Kennedy
- 24 April 2008
The Collins Gallery, University of Strathclyde, Glasgow, until Sat 3 May
SCULPTURE, FILM AND DRAWING
There has always been an indubitable relationship between art and science. A charcoal mark made on a cave wall is the result of various scientific process and ‘laws’. Alex Frost and Sorcha Dallas attempt to examine this relationship through the idea of technology in the work of 13 local and international contemporary artists.
Due to the number of theoretical approaches and stylistic agendas, what we are presented with is a selection of work by a host of artists the curators admire. This is not necessarily a bad thing. It’s always difficult to force oneself to be parochial, but on the whole the work by the artists based in Glasgow or represented by Glasgow galleries stands out. This may be because the curators know their work best.
We have previously seen Torsten Lauschamann’s installed film piece ‘The Mathematician’ at Mary Mary, and his work currently on show at GoMA has far more to offer (more is always more when it comes to his work). Frost’s own offering are also excellent, both formally and conceptually. In his ‘Blind Drawings’ we see how the cold process of pixilation can be sexed-up through a renaissance-like ‘sfumato’. His take on hand-painted pop is always seductive, evidenced in ‘Young Adult’, a packet of Ryvita rendered in Fimo, clay and paint.
The sparse yet deeply considered work of Mary Redmond is also a highlight (‘Grazing with the Sky Goer’): an abstract sculptural composition that comments on, while working against, gravity. This is a weighty sculpture, even though the bulk of it is constructed out of thin wire and fishing twine. Laura Aldridge’s pots (‘Holders’) are also of interest. They sit on the ground like enormous misshapen chestnuts; their ‘natural’ form emphasised by the houseplants that spew out of them.
There are a few pieces that are of little interest. They are the largest pieces, yet the easiest to ignore (Pae White and Richard Deacon’s work). You’d be better pondering the smaller, weirder pieces freed from the university archive that acted as inspiration for the show.