Workplace presents be like water, a group exhibition looking at
aspects of destruction as artistic formula, the erroneous or
delusive nature of a fading memory, and discourses
surrounding the invented and imagined. be like water takes the
work of six artists who employ repetition, attrition, sublimation
and intersubjectivity in the creation of their work, together
formulating a dynamic epistemology relating to the intangibility
of memories.
DARREN BANKS’ looping video, Aural Fascination, is a clip
taken from the 1974 Italian horror film, ‘The Antichrist’ and sees
the psychologist, Dr. Marcello Sinibaldi interviewing ‘Ippolita,’ a
paralyzed young woman suffering from serious psychological
issues stemming from the death of her mother. The clip plays
over a section of Ennio Morricone and Edda Dell'Orso's, 'Ma
Non Troppo Erotico’ (1971) a seductive, soothing but erotically
charged piece of music which holds Sinibaldi in seemingly
fragile flux which could at any point spin off into a spiraling
hedonism.
ANNA BETBEZE creates rich colour saturated works from
Greek Flokati rugs. Acids, dyes and resins, accumulate,
dissolve and destroy the fabric. Bunsen burners, ash and
blades act to further obliterate the rugs, creating simultaneously
playful and brutal works which push beyond the limitations of
their materiality referencing 20th Century abstract painting,
iconic interior furnishing, and metaphors for annihilation and
decline.
MICHAŁ BUDNY’s works are a poetic interpretation of often
delusive phenomena, such as voice, memory or light. His works
are an overlaying of fragile, frequently temporal materials, which
act to undermine any sense of stability or form often associated
with painting and sculpture. With their insubstantial and
ethereal presence, they confuse the reading of volume and
form.
RICHARD RIGG presents Over and done, a customised
infinitely looping cassette tape with an isolated section of a
piece of music titled, ‘Kész az egész,’ by Hungarian composer,
Mihály Vig. The music’s lyrics relate to a sense of complete loss
and finality. Rigg recorded the piece of music directly onto tape
from an online internet archive. Pairing the almost obsolete
technology of the cassette and the affiliated tape player, with
the now freely accessible sources of media present on the
internet, Rigg presents the audience with a kind of corrupted
memory trapped in an endless cycle of nostalgia.
JOE CLARK’s photographic images of sunsets captured in
the reflections of mirrors have the uncertain trace of time and
moment. There is a fleeting or elusive resonance with the
present, tempered by the ever changing and inescapable
passing of time. Within the three images, Clark alludes to the
often imprecise perception of past and present, and the
poetic crystallisation of the irretrievable.
KERRY TRIBE presents Here & Elsewhere, a documentary
style film surrounding an interview between Peter Wollen (film
critic and theoretician) and his ten-year-old daughter, Audrey.
Posed with questions derived from Jean-Luc Godard and
Anne-Marie Miéville’s 1978 television documentary,
France/tour/détour/deux/enfants, Audrey wrestles with an
incomprehensible conundrum, one of explaining phenomena
such as light, image, time, space, memory and existence.
Throughout the course of the interview the young girl’s
answers seem to unravel into spirals of contradiction. Tribe
uses the filmic format to further question the medium’s
authenticity in relation to the represented and the real,
drawing parallels with the human condition.
