Coleman Project Space is pleased to show new commissioned work from Rochelle Fry, Mary Maclean and Helen Robertson.
Preview: Friday April 24th 6-9pm
Dates: April 25th – 17th May
Times: Fri Sat Sun 12-6 pm & by appt.
Live performance: Saturday 16th May 3 pm
ways from here to there looks at the enclosure of space through surfaces and other physical or implied metaphorical boundaries. Taking Michel Serres’ assertion that the house is an extension of our skin the works encourage a corporeal encounter with the divisions of space: ‘The body folds, curves, adapts enjoying at least three hundred degrees of freedom. From the feet to the head or to the tips of the fingers it traces a variable and complex path between the things of the world.’
The three distinct environments of Coleman Project Space are set into play by works that position themselves in relation to the differing physical cues of the gallery. From the use of photography to document institutional interiors, to a sculptural realisation of a line in space and the sound and film recording everyday actions and modes of making, these approaches appear responsive to ways in which boundaries might be understood as provisional, needing to be negotiated as we pass through.
Variable rhythms are set in motion through the positioning of the works with colour acting as a mobile agent, at certain points disrupting the spatial status quo, at others creating connections between elements. Helen Robertson explores the structure of the gallery’s red shutters and doorway as the site of everyday actions — the elaborate opening and closing of this entranceway and subsequent movement of light during the process. Through video, sculpture and animation, these daily actions are repositioned into and across the recesses of the building, altering our perception of it.
Mary Maclean incorporates scientific imagery for her photographic exploration of the wall as backdrop for a set of actions performed elsewhere, off frame. In reality, the laboratory space referred to is used to record speech pattern formations and evokes a functional efficiency. The image constructed emphasises the surface of a wall, pierced and animated by a series of holes, suggesting cavities and a space of reverberation. Rochelle Fry is interested in the experience of looking at sculpture while listening to music or sounds — surfaces created in both audio and sculpture. Attached to ceiling, wall and floor, her thin, four-sided wax sculpture appears at once a linear extension of the space and yet portal-like, emitting a series of collected and improvised sounds that link us to sites beyond the gallery.