Last night I was helping out at Vane Gallery with their display for the Late Shows. The Late Shows are a city wide series of exhibitions and cultural events which range from open studios to performances. This is the tenth year it has run with over 70 venues participating. Vane Gallery were previewing two new exhibitions and were also hosting a 1960s style photo shoot for people to play dress up. This looked like great fun and the polaroid photos of everyone came out really well. The vintage clothing was selected by Sara Makari-Aghdam, the curator of Vane’s current ‘Vinyl Icons…’ exhibition, and let’s just say she has great taste! In among helping out behind the bar, I was allowed to pop up to see what was happening on the other floors of Union House.
B&D Studios had a silent disco playing, something which was incredibly surreal as I have never experienced it before. It was strange seeing people dance to no music. Then you put the headphones on yourself and close off the rest of the world as you enter your own little bubble of sound. The music was mellow and upbeat and really added to the fairy light lit atmosphere. There were also these amazing graphic drawings on display by the talented artist Luke Dixon. I love the colours and the geometric components of the animal’s faces and they were suitably eclectic artwork for the atmosphere of B&D.
It was really interesting to travel throughout all the floors of the building as there was everything from fashion to printmaking on display. I knew it was a creative hub of a building, but I hadn’t realised quite to this extent! There was also a floor where people had made imaginative creatures in art therapy classes and the option to take classes in pattern making.
The night was so filled with artistic contrasts and I think this was what I was most intrigued by; you didn’t know what was going to happen from room to room. When you visit an art gallery, or know there is an artist exhibiting, you kind of expect there to be a sense of continuity within the space. With The Late Shows it was just full of surprises and seeing traditional crafting techniques followed by colourful projections, followed by taxidermy really did highlight the range of what forms art could take.
There was a very scientific-based floor with a UV cloud installation. I have a bit of a thing for these kind of works, UV just excites me! I think it’s partially my childhood fondness of having glow in the dark stars on my ceiling. Having seen Benedict Drew exhibit at The Talbot Rice Gallery was another instance I got quite excited by UV as he effectively employed it to transform and manipulate structural components of the gallery.
What’s great about The Late Shows is that it encourages people that aren’t necessarily that interested in art to participate and visit gallery spaces that they may not otherwise. It’s a chance for anyone to engage and although I didn’t see everything given I was helping with Vane, I saw enough to realise what a great sense of community art can create.
I think it’s say to say that Benedict Drew’s wacky installation was by far my favourite work in The British Art Show 8. Exhibited within the Talbot Rice Gallery, Drew’s work is the definition of transforming a space into something completely new and exciting. What had been quite a clean cut angular-looking gallery space prior to my entry into this room, was soon turned upside down as I entered Drew’s work. I was instantly transported from the traditional gallery layout to what felt like a psychedelic sci-fi space. I was in awe. Sound pulsated heavily across the room; I could feel it in my core and reverberating through my entire body. There were headphones placed on the table which of course I reached out and tried on only to find that they amplified the sound that was already echoing around the room. It was almost like an electro heartbeat and instantly made me feel like I myself was a part of the piece.
The utilisation of the architecture within the work furthered Drew’s success as I felt the gallery dissolved and blended into the installation to the point I felt fully consumed by the piece. Just like this installation, Drew’s practice spans a wide range of media including sound, performance, video and various other forms. He often creates chaotic and absorbing environments that pulsate with life, drawing in the viewer and providing them with a multi-sensory experience. Although there was a lot to take in when I viewed Drew’s work, surprisingly it was not overwhelming. Installations such as this have that risk factor; bombard your audience and your work is often lost on them. Yet Drew defied this by carefully distributing the pieces, creating a walkway for the viewer to enter and navigate their way effectively through his work. The shapes I was met with and the colours that were used all complemented and blended with each other allowing the human eye to adjust to the bright colour palette that was present.
When I got to the back end of the installation I was greeted by large, cinematic screens. Drew’s attention to detail was plain to see with the modern white speakers contrasting to the excess of cables wrapped believe it or not, in tinfoil. Drew took a domestic everyday item and turned it into an art piece that distracted nicely from the ridiculous amount of cables that all his technology requires. It also furthered my reading of the sci-fi elements. It was not just the detail in the cable layout, but also in the stands of the screens. Instead of being a dull conventional black they were a lime green that instantly caught my eye (probably due to the fact I seem to have developed an unexplained love for lime green).
According to The British Art Show’s text accompaniment to this piece, Drew was articulating “the horror of the modern world” through this work. Through his multi-media approach he explored this horror thoroughly! It was impossible to ignore the screens that bombarded you as you approached, an obvious reference to our screen culture of today. There was sound that shook through your bones, the way music does in a club. Colours and structures clustered everywhere in excess alluding to our material and consumer culture. There was no escape in this whimsical and all-consuming environment; the pace of it drew you in and refused to let go much in the way that modern day life does.
Yet in among all this technological-based motifs I was surprised to view what looked like mud puddles on screen. They were very anthropomorphic and alien given their electric colours, yet I half expected a David Attenborough voice over mixed up DJ style to come on! It would not have surprised me, as this work was a constant succession of surprises – and puzzles. There was one area of each screen which had a shell attached to it and a spot light which remained the same colour despite the constant shift in imagery. I could not for the life of me figure out how Drew had managed this!
There was not a moment of boredom in this space. Despite this being the first piece I saw of The British Art Show, and despite me witnessing several other works that day, this was the one I could not stop thinking about. I couldn’t get this psychedelic experience out of my head. Partially I think because I was both impressed and fascinated by how Drew had used technology and created such an absorbing work. But also partially due to the elaborate colour scheme – I myself almost wanted to start glowing and blend into the work! I think it’s safe to say Benedict Drew succeeded in captivating his audience, whilst also posing some challenging questions concerning modern life today.