The grid is predominantly a beginning, a tool for scaling, a way to organise space. It is the foundation of order, built upon and obscured, more often than not disappearing in the process. Grids impose themselves, but they also free us from the anxiety of a blank surface. They can make the production of an image/artwork into a game of perfect information. That is to say that the strict adherence to a set structure, using rules and limited elements, instantly generates all potential outcomes. In theory the possibilities are exhaustible, but practically we find that the more we focus the deeper the rabbit hole goes.
The artworks of Adia Wahid, Cecilia Charlton, and Russell Terry all converge on this concept of the grid. In their works, the grid functions as armature as well as object.
The exhibition offers up the grid as support structure and as a centerpiece. It compels us to consider the role of the grid not only as an aesthetic object, but also as a concept and fixture that underpins our everyday lives.