Both artists’ work look to hold a space and re-imagine it. Evan Jones’ Untitled uses a series of painterly objects that can be re-configured upon a rectangular tower each time it is shown, thus creating possibilities within the work itself to mimic the curatorial act. As a particular configuration unfolds within an exhibition, it creates a set of relational values, as well as a physical entity, inviting the spectator to imagine other possibilities and to thus consider the work curatorially.
Jessica Conway’s work focuses on process as a way to decipher the artist mode. The shapes and forms of her work Big Green Trays are held together by cable ties and formed from garden wire fencing and vinyl vapour sheets. Conway’s use of non-precious materials, that sit rather banally, are in some way an antithesis to the tradition of painting referenced more directly in Jones’ work, but has a similar geometric strategy. The aesthetic, combination, and display of her work shares with Jones concerns about mediation between objects and within space, which are familiar to any curator engaged hanging a show.
The way these structures engage with space points perhaps to Robert Smithson’s thoughts on curatorial confinement, and how the exhibition space might play into this curatorial force. The process elements of the work are confined, and quite honestly so, by the exhibition space, making the “metaphysical limits” set by the gallery space come to the fore; here the agency of this space lends to this curatorial relation, this pivoting between the subjectivity and objectivity of the work and the viewer. While we might look towards how the manifestation of these curatorial forces are coming into play and what this might do to our image of what a curator might do, the very nature of the curator is adumbrated, and emerges as less problematic through the blurring of the line between an artist and a curator form.
Curated by Luke Hyland. Text by Luke Hyland.
27 July to 24 August, Wednesday to Saturday, 12-6pm