Sometimes Making Something Leads to Nothing takes its title from a work by the Belgian born artist Francis Alÿs. In his short film Paradox of Praxis I, the artist pushes a large block of ice through the streets of Mexico City: at 9.15am he is battling with the traction of a huge weight, by lunchtime he is shuffling it with his feet, and at 6.47pm all that remains is a small wet stain on the pavement.
The theme of transformation, poetic by definition but also a little subversive, is central to Alÿs's work and to that of all the artists that are gathered in this exhibition. It manifests in different ways: in the near violence of a Callum Innes painting, the surface dissolved as well as applied; in the shift between grandeur and banality in Iran do Espirito Santo's black granite forms; in Maris' painting, made with the burnt ashes of Jacques Derrida's The Truth of Painting one read and one unread copy bound into acrylic medium; in the reverse alchemy of Cornelia Parker's flattened silver objects; and in the metamorphic potential of Peter Liversidge's floral tribute, the floral letters picking out a phrase that echoes the paradox of Alÿs's endeavour and perhaps provides an alternative title for the exhibition: One Man's Vulgarity is Another's Lyric*
In all these works there is a balance between absence and presenceâ¦ between the idea and the objectâ¦ between what isn't there as well as what is. - the space between things in which transformation occurs.
For further information & images please contact the gallery on 0131 556 4441 or info@inglebygallery,com
*One Man's Vulgarity is Another's Lyric: refers to the arrest of a man for wearing a jacket in an American court emblazoned with the words: fuck the draft. He was charged with breach of the peace, but found not guilty
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