Artists Paul Coombs, Bex Massey and Alex Wood come together in Necole Schmitz’s first curatorial project, Home Bodies. The exhibition reflects on the impact domestic spaces have on memory, the way one exists in these spaces as well as the impact future events have on the importance placed on these recollections. As Freud states in The Uncanny:
Our childhood memories show us our earliest years not as they were but as they appeared at the later periods when the memories were aroused…And a number of motives, with no concern for historical accuracy, had a part in forming them, as well as in the selection of the memories themselves. (p. 322)
The artists will take this presupposition as a starting point to create works specific to the iconic Balfron Tower, examining the truth of Freud’s conjecture by contemplating how memories are formed and whether these personal mythologies and stories are underpinned by images of the domestic spaces in which they occurred. The artists will also take into consideration Balfron’s history as part of the high rise solution to the post-war housing crisis in light of its recent transformation from a private to a public cultural space.
Slick (Definition: Smooth, Glossy & Slippery like Ice).
A 15kg bronze, polished complete with the ball bearing sized droplets from when it was poured represents the Oil we all use… Its appearance is suggestive of an oil slick on water, yet juxtaposed against the bronze is a low-fi model I created of the monumental Titanic. Perched precariously on top the card model crashes into the slick bronze slab creating a contrast of materials, suggesting something may happen at any moment…