Making/Showing Exhibition (Part Two)

The final part of my review of the Making/Showing Exhibition (part one) this is what was displayed in the main foyer space at KU Knights Park Campus.

Paulina Gorelik - Watermelons

Paulina Gorelik's Watermelons appears as some kind of fairy-tale-esque trap; where beautiful, magical looking fruits entices children in and then traps them, leaving them with the fruit they desire but nothing else. The interplay with the similar, rotund forms allows the contrast between the man made and natural forms become more apparent, and it's this interest in materiality that makes Gorelik's other piece 'Tree' (which was displayed in the other part of this show) really fascinating. The use of colour, mixed with a distinct DIY ethic evokes childhood memories, and a strong sense of play. Rumours have it Gorelik wanted to sit in the cage and eat them throughout the private view, but from the looks of them the following day, she didn't do it.

Kelly Tsang - Counting Paper II

This, of course relates to Kelly Tsangs Counting Paper II, which is unavoidable to miss upon entering the exhibition space. In stark contrast to the black gallery floor (coincidentally-can you name another gallery which has a black floor?). Obsessive, origami triangles litter the floor, they crop everywhere and seem to almost act as a link to each of the works. Her work reminds me of a number of artists, namely Jodie Carey and Kate MccGwire, who both employ incredibly time-consuming methods to create their sculptures. The display of the work was simple, and I suspect that if the work wasn't littered over the floor it would've been missed. The work intensifies as it builds up to a kind of black hole of mass which really draws the viewer in.

TurnHurst-Just the Two of us Pt 2

Two odd silhouettes of bodies kneel down at each other, and seem to be forcefully stretching a sheet of plastic beneath them. The bodies, although similar to look at are a few inches apart, and that space in between them is the space that the viewer is drawn to. It's reminiscent of two stags lining up to eachother ready to headbutt eachother-and it's interesting to consider what will happen next with the two bodies.
The materials TurnHurst decided to employ are indicative of their current feelings and conceptions about the art institution they are a part of. Mod-roc and plaster are more commonly used in key stage 3 education, or on a foundation course-it's an unthoughtful, clumsy, awkward material to work with that has obviously been utilised by another institution (hospitals) for years. The added prop of a broom behind the work suggests it's half-completed, and the work seems to lie in this space of consideriation and of questioning.

Emma Calvert - Untitled (production still)

Much like Tsangs-Counting Paper II, Emma Calvert's work developed and changed throughout the duration of the exhibition. Painstakingly written on the floor in powered chalk was a poem written by Calvert. After a painstakingly long time writing it out, within minutes of the show opening the words were unreadable. Throughout the show the floor became more and more chalky and really transformed the exhibition. I really enjoyed the time-based aspect of the piece, and how that became the work, rather than the words written on the floor. It becomes a stronger, more performative piece as it needs viewers for it to properly work.