Home / Gallery / Enclave Gallery & Machine Party | Half-Words | Curated by Luke McCreadie

Enclave Gallery & Machine Party | Half-Words | Curated by Luke McCreadie

Mar 29, 2013


Preview Friday March 29th
Exhibition continues March 30th – April 20th 2014

Daisy Addison / Richard Bevan / Adam Burge / Rachael Champion / Lucy Conochie / Elliot Dodd / Frances Drayson / Jacob Farell / Jack Killick / Steffen Levring / Sophie Micheal / Luke McCreadie / Sarah McNulty / Andrew Munks / Alice Newsholme / Jack Strange

Special performances March 29th: Rachael Champion: Pebble Dash / Lucy Conochie: Listeningking ‘Facts’ / Alice Newsholme: Catsby and the Christ Child / Luke McCreadie: To Be and Not to Be Mean

Half-Words is an exhibition and events program which has no aim, no message and nothing to say other than that if the desire for something to happen is there then it will find a way.

Objects are simple.

“Last week our picture window, produced a half-word.”

A rounded object that fits in the palm of your hand. Look at it for a second, maybe two. What comes across has little to do with language. More like a feeling or a thought. This is a lozenge shaped thought, it is easily squeezed from larynx to cochlea. The incommunicable space between people. The chasm of difference between the physically aligned last and first pages of books next to each other in a library. Ordered but not continuous. With huge gaps filled with the stuff nobody ever wrote about. I could tell you everything you wanted to know here, if I really believed that you would hear the sounds I made. So back to that object. In fact, think of an allegorical painting or a metaphorical sculpture. Think of the phrase, “why not” and think there has to be a better way of thinking. The round object is sitting there in the palm of your hand and you still don’t know why. It gives you nothing and it is even hard for you to give it something. But still it hums a medieval hum as though it is teetering on explosion with the millennia of experience it has but cannot communicate. You misunderstand me, you confuse me. You have misinterpreted my actions, you have painted me with the wrong brush. It’s not about nothing, but sometimes something. When the whole facade of your face begins to stretch outwards and you can see the world through two ever distancing eye sockets and the exterior becomes a place which is decided, which has an air of inevitability, and there is no way to distract those around you from the misplaced theme they have found and will stick to. This is interpretation, interpretation of form. When the dogma recedes, the objects come out and act as conduits for us to understand the specificity of what it is to exist over there. The rounded object either grew like that or its experience made it like that. The weather constantly erodes and so you can tell there is weather. The weather is like the human gaze. The history of art. The impossibility of the present to unite the past and the future. The object’s rounded edges do not look bloated and empty, they look red and knocked back. Homogenisation, archiving, encyclopedias. Understanding. Library catalogues and book shelves. Ordering the chaos. The late Thomas Eade was a revolutionary, keeping his Toxteth library in a constant state of decomposition, no shelving allowed, certainly no archival system, room upon room with floors filled ten books deep in undulating, towering piles. So take the red object, in the palm of your hands and feel it. It’s like a slippery sentence, wily and wise. It is by no means non-committal. It is a feeling or a thought, formed through experience which does not need to be communicated accurately.

Half-Words is curated by Luke McCreadie for Enclave, 2013.

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