Through the works of these four artists, the exhibition manifests imagined ways of living and explores the role of art objects within these scenarios.
Paul Chapellier’s Live Edge examines synthetic nature in relation to design. The artwork consists of a waney-edge wood board bought online, replicated in a white artificial material and backlit by blue light, standing against the wall. The work embodies the ambiguous agency that survives in the reproduction of nature and its circulation as an image, beyond the distinction between the human and the natural.
The preservation of future spaces for artists is presented in a ‘cold room’ concept where residual actions and gestures made by the artist are built up over the course of the exhibition. Rachel Cheung performs a response to a vision of future artist’s spaces in a four-part performance that considers the collaboration of living and working spaces and the role of art objects and methods. The remnants of each performance allows for speculation on imagined actions and absent methods, and perhaps presents the makings of future objects.
Anna Mikkola’s video work looks at how non-human vision transforms the human perspective and the making of art. Exploring these questions through a speculative future scenario and looking at the human-machine collaboration, her video presents a subject playing out automated loops and rituals.
MH Sarkis’ Motherboard is a wall-based hand-tufted rug, visually based on the female reproductive system. Within the grooves of the piece run plasma-cut and guillotined steel. The artwork seems dormant until it is touched and brought to life. Upon such human contact, the conductivity of the steel and threads running throughout the piece trigger a euphony of deconstructed, human sounds.