PLURAL curated by BREESE LITTLE at the WW Gallery was absolute bliss. Whether it was the pop-culture aspiration of the impossible moon landings, the frustrated science of Sam Zealey’s sculpture, or the coded abstract geometry of Tom Hackney; there was aspiration to suit everyone.
I spent a good portion of every week in the swathes of black fabric lying on a bench and watching Suki Chan’s swelling and hypnotic vision of London, Sleep Talk, Sleep Walk. My interview with Suki Chan will be up on Jotta soon.
A little extract from my introduction in anticipation of the interview:
“Suki Chan’s London is a city of interims and increments. It is the movement between places: captured in the soft glow of bus windows catching traffic in the dark, or though tube tunnels in dim evening light, and funnelling up escalators to the exit or the platform, an indeterminate location. It is a world transmitted by the inconspicuous eye of security cameras, remaining constantly under surveillance. Yet there are no events recorded, just the seemingly uneventful moments in-between. Even locations, inanimate concrete and steel; are in a similar state of flux – abandoned buildings and construction sites suggest that the vision we are presented with is still incomplete.
If it is aspirational, it is because it captures the moment in which we are moving on our way to something else, beyond. The installation begins with movement: transportation in wormings of light, the horizon seeping into new colours with the passing of time. In this city, someone suggests, “it is quite easy to spark off each other and pass ideas around”. But as this vision progresses it seems to repeat a pattern of loneliness rather than one of community and collaboration. Empty office spaces and unpeopled views across the city confirm that this comment was little more than a still-distant utopia.”