Something My Mother Would've Worn In Her Early Thirties
Something My Mother Movie Stills
2017/18 Drawings & Sculpture
Papa Du Jour
Papa Du Jour
Papa Du Jour Stills
The Weird & The Eerie Group Exhibition
The Weird and the Eerie
8-9 March, 2018
The Weird and the Eerie is a group show of ten artists currently studying at the Slade School of Fine Art. A childish, fantastic and yet not always naively optimistic view of the world flows between the works. Through themes of family, nostalgia, illusion and make believe, the pieces shown are both linked and distanced from one another, each artist creating their own imagined parallel universe. The exhibition brings together sculpture, painting, animation, film, print-making, and drawing; the vary of materials and scales is playful and absurd.
By using symbolism and figuration, a personal storytelling is developed, a small attempt, perhaps, at envisioning a new world. The outcome of these different creatures and dreamy scenes coexisting together in the space is dizzying and humorous, human and in-human, brutal and soft, anxious and sweet all at once. In today’s social and political climate there is an understandable desire to return to the imagination, the desire to play, and yet - unable to fully abandon the real - the outcome is not entirely utopian. The creation is muddy and often disdainful, rhizomatically interconnected. Critiquing the present, referencing the past, the longer you melt into those bewitching realms, the more unsettling they become.
The title of the show alludes to Mark Fisher's book The Weird and the Eerie, which was issued in 2016 and tragically remains his last publication. His writing brilliantly distinguishes these two closely related modes and looks on how they work their way through popular culture. He articulates his argument with references to music, film and literature, including Joan Lindsay's novel Picnic at Hanging Rock, Stanley Kubrick’s 2001: A Space Odyssey and Andrei Tarkovsky’s Solaris amongst others. Fisher often critiques the prevailing ideological conditions of contemporary neoliberal capitalist society, and askes to imagine an alternative future. In this book he notes why it is important to think of the eerie - ‘Since the eerie turns crucially on the problem of agency, it is about the forces that govern our lives and the world…A force like capital does not exist in any substantial sense, yet it is capable of producing practically any kind of effect’. Together, the works in the space evoke this sense of crossing thresholds which Fisher was fascinated by; This Eeriness alienates us from the political settlement we call reality today and allows us to witness it as ephemeral, changeable.
On this note, the future might be weird, eerie and female – Today – March 8th, marks the International Women's Day, which was firstly held in 1909, celebrating the social, economic, cultural and political achievements of women and a call to action for accelerating gender parity. However, the future under the age of Circulationism and influx of visual images in combination of monetized women consumers, which help to market a lean-in feminism and Corporate feminism under the guise of empowerment, probably will only fail as a real women’s liberation model. While seemingly we should be happy by the prospect of so many feminist-identified people in the public sphere, Feminism should challenge this inequality at its roots.
‘ To question everything. To remember what it has been forbidden even to mention. To come together telling our stories, to look afresh at, and then to describe for ourselves, the frescoes of the Ice Age, the nudes of “high art,” the Minoan seals and figurines, the moon-landscape embossed with the booted print of a male foot, the microscopic virus, the scarred and tortured body of the planet Earth. To do this kind of work takes a capacity for constant active presence, a naturalist’s attention to minute phenomena, for reading between the lines, watching closely for symbolic arrangements, decoding difficult and complex messages left for us by women of the past. It is work, in short, that is opposed by, and stands in opposition to, the entire twentieth century white male capitalist culture. How shall we ever make the work intelligent on our movement? I do not think the answer lies in trying to render feminism easy, popular, and instantly gratifying. To conjure with the passive culture and adapt to its rules is to degrade and deny the fullness of our meaning and intention.’
—Adrienne Rich, Foreword to On Lies, Secrets and Silence