IT IS PROBABLY BETTER TO START FROM ZERO is a long term curatorial and artistic project taking place in the Window Space, at the Cass Faculty of Art, Architecture and Design, London Metropolitan University from December 2015 to July 2016.
IT IS PROBABLY BETTER TO START FROM ZERO intends to highlight the unfixed position of both artistic and curatorial practices and to assume them as research-based activities, potential nexus for discussion, critique and production. Through working with artists whose body of work functions as an ongoing process, the project aims to stress the growth, complexity and diversification of collaborative practices. The unpredictable state of flux inherent in artistic practice will shape the curatorial activity as a constant ”state of becoming”, as stated by the artist and curator Paul O’Neill. Inspired by the particular properties of the Window Space, the project will also look at the window as a frame of process, exploring the constraints and possibilities of displaying a body of work within these spatial and conceptual boundaries.
After marking its mid-point with #0.2 Workshop, IT IS PROBABLY BETTER TO START FROM ZERO presents a second intervention by each of the four artists exhibited previously, over the next four months. By coming back into the Window Space, the artists present the progress of their ongoing research and practice, taking into account the effects of their relation with the curators, the other artists and the space itself. Since her previous installation, Goldie has been exploring the effects of working with degenerative materials. Her latest collection of sculptures 'Obscured Artefacts' are built in fragments, allowing each structure to be arranged and rearranged, depending on their environment. Her work takes notice of the negative space and the complexity of the missing object, questioning the impact on the remaining sculpture. Visualising the absent space stems from an amalgamation of elements taken from the artist's work on light projections.
Goldie creates a sculpted design from microcrystalline wax, which is melted away from the main body of the structure. The wax is then set into plaster and polystyrene segments and cast into triangular forms, a shape that was used in her previous installations to represent the formation of light. It has been important that the rituals and processes of an object are understood by the audience. By presenting a visual timeline within the display, Goldie hopes that the viewer will piece together the journey each structure has made.
IT IS PROBABLY BETTER TO START FROM ZERO is curated by Matilde Biagi, Ines Costa and Antonio Terzini