The artworks in the exhibition examine the ways in which sculpturesque realities can contribute to our reflection upon domesticity, survival and existence in a post-pandemic era – whether by assuming the form of a piece of functionless furniture, a Han Dynasty ceramic burial object, or a toothbrush tree; or by making playful use of mattress springs, a stack of Robin Day chairs, window blinds, rice, dollar bills, door frames, and even some Balenciaga coats!
There’s a lot to pack in, but the group exhibition is both revealing and enlightening, especially in light of how we have come to cope with issues in the pandemic. With eight artists – all with different sculptural practices – the presentation explores much deeper issues that require reflection and contemplation.
Phillip Lai has been pondering labourious means of survival for over three decades. By emphasising what is essential to life, Lai questions the ways in which one may handle a sculpture, or how a sculpted reality of urgency can handle and receive humans.
Turning from the matter-of-factness of the manual world to the glamour that the contemporary reality has to offer, Nicole Wermers examines the subtle changes in public space, and the evolution of elements and factors within, revealing another infrastructural aspect of life that insidiously shapes our vision and body.
Developing her sculptural practise, Lee Relvas uses the most obvious readymade of all: money. Relvas acknowledges the relationship between one’s financial status and artistic freedom and whether it is possible for an individual to ‘solve capitalism’.
Lee Relvas reflects upon her practise in relation to the idea of being suspended, a term that frequently appears in the post-pandemic era.
Also interested in creating suspended situations is He Yida, who challenges the aesthetics of the ordinary, and frequently uses ‘poor’ materials, forging new relationships and functionalist purposes.
Oren Pinhassi explores the composite assemblage of things and the possibility to create and live with pseudo-natural beings in a domestic environment.
Eric Baudart flips the comfort a domestic setup has to offer in-side-out. Known for reinvigorating a Duchampian tradition of readymade art, his works present mere façades that are playfully deceptive.
Evgeny Antufiev’s project examines the relationship between the living and the dead. His immersive, total exhibitions are tomb-like environments, in which relics and artefacts are considered magical, empowering their owner and user on a journey for eternity.
Heidi Lau explores an uncanny domesticity in relation to memory and life; her multi-faceted architectural miniatures and vessels contemplate what home, intimacy and safety mean today.