ââ¦the immobile outer walls and towers not quite able to hold in equal stillness all the disparate inner parts. It was hardly surprising, when one considered the different portions of the earth and living world that had been plundered to fill the place: unrelated oxides fused to make glass and flattened into windows framed by felled and sliced trees; marble quarried and carved into decorative mantelpieces on which sat lamps compounded of different or unwilling metals; powdery plaster
fixed by water in a brittle firmness unnatural to both. It was only to be expected that a little restlessness be shown at night an aching of elemental parts which stretched to find their former selves.'
The Girl at the Lion d'Or, Sebastian Faulks, 1990.
Fold Gallery is pleased to present Unrelated Oxides co-curated by Natasha Bailey, Joshua Kim and Wendy McLean in collaboration with Fold Gallery. Eight artists present work in correlation with the above quote, from which the exhibitions title also comes.
Natasha Bailey's photography aims to manipulate space, while her performances strive to break down the boundaries between the artist and the audience. Her work for Unrelated Oxides requires the participation of the viewer, to fully reveal the works multiple layers.
Joshua Kim's Unnamed Specific Objects present photographs and sculptures to create an index of definitions. This set of specific displays and objects explores the scale of time/space in relation to perceived events, the fabric of artificial reality, and the maze of ostensive definition.
Susan Kordalewski's artist's book, Every Word I Know, recounts every word listed in her personal diaries, mapping out her own personal vocabulary. The work serves to document the way that the individual utilizes language, and the dependence and importance of language in communicating about one's experience.
Wendy McLean's recent work attempts to locate a landscape within the surface of a painting. Alternate depths of paint, underpainting and areas of ground seem at times to relate to the material qualities of the subjects themselves; in their weight and occupation of space.
Iain Sharpe's overlaid collages bear witness to their construction; the pen work is unable to conceal past marks and the structure carries a multitude of re-assembled imagery. Sharpe's work Clear Spot sits somewhere between painting and drawing, depicting a scene of fragmented coherence held together by the repetitive form of mark making.
Dan Shaw-Town deals with the tools of drawing, generating forms rendered with a graphite layer. His practice is one inherently entropic; things are made, erased and subsequently replaced, and bears the marks of sculptural activity more than those of drawing.
Liesel Thomas's painting has been made in reaction to the text, and finds particular poignancy in the materials stretching âto find their former selves'. Conversely her hyperreal paintings underpin her interest in the mimicry between source
photography and painting.
Amanda Wasielewski is interested in materiality and immaterality with regards to present and past human interventions in the geographical landscape. Wasielewski's sound work occupies the stairwell at the gallery, echoing both the contemporary landscape and the areas pre-history through the layering of multiple soundtracks.
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