|A Taste For Sham ~ 25 April to 30 June 2003 |
| studio 1.1 |
| about |
|Jo Burton, Ann Course, Kirsten Glass, |
Hector Hazard, Thomas Kilpper, Lindsay Seers
Studio 1.1, the gallery extra-curricula to the Babes shop, presents the work of six artists. By showing in this space, a picturesque deviation on the 'sex shop’ devoted entirely to the sale of penetrailia, the artists taking part allow a back and forth of reading. As the work sees 'itself’ in the surroundings, as the surroundings sees 'itself’ in the work, as the meanings and suggestions leak out, the product of this back and forth is a show that is a funny, elegant, discourse on how the fraudulent object fits into a genital universe.
In their video 'Anti-dust’ Thomas Kilpper and Hector Hazard present a story of stolen authority captured on a London May Day demonstration. Kilpper also shows images of the Nation’s monuments boarded up against the eventuality of rioters that same day, unwittingly creating pieces of counterfeit minimalism.
Ann Course shows scarily funny animations of ruptured, simple line drawings. She works through emotionally charged autobiography with images that skim along an edge of hilarious cruelty. This is a world where faceless figures fuck like rockets and a swaddled baby moves in and out of the oven, where disgust for the world and love of truth collide in a recognition of reality that precludes any sham or deceit.
Lindsay Seers’ ventriloquists dummy is perhaps the ultimate fake object, though one never for a moment mistakes it to be an actual human. Like the dildos on sale here, the dummy is in fact utterely it’s own thing, representing itself but encompassing also layers of undisclosed and private fantasy so cogent what may have been mistaken for a prop appears eerily capable of standing up and walking off into its own reality.
Employing a kind of fuzzy felt leitmotiv Jo Brutons tragi-comic paintings
allude to the contract between attraction and desire and reveal the immense effort behind feminine sexual aura and eroticism. The paintings like show girls never stop working, generously performing.
Kirsten Glass constructs pictures in which girls from fashion magazines are rendered menacingly gothic. Suspending her subjects in the artificial emotionality of the cat-walk and fashion shoot, a world of mock smiles and tears, Glass creates a novel reality by setting out to play the game rather than determine who made the rules or where they came from.