In Contiguity
In Contiguity brings together works by five London-based artists whose varied practices converge on notions of motion, contact, tension and sound. Across video, sculpture, painting, installation and photography, Baulcombe-Toppin, Francis, Lena Hager, 翱谤迟耻帽辞 and Walker each attune their works to the contradistinctions of this subject, together forming a choreography that speaks to the ways in which our bodies traverse in time, touching, parting and passing one another.
Baulcombe-Toppin predominantly employs found objects to construct a contemporary philosophy through her spirituality, British-Bajan heritage, and rituals for collective healing. She draws on tropes of domesticity 鈥� such as crystal glasses, dark wood furniture and photographs shot on 35 mm 鈥� to evoke a sentiment of intimacy in her ceremonial assemblages. Taken out of their usual order, preserved, reconstituted, and often anointed with charged water, these items enact a mysticism that ruminates on moments of togetherness shared between generations, family and friends 鈥� from the UK to the Caribbean.
Suspended from the ceiling of the gallery hangs a horizontal bar of adjoined cut-glass mugs, most commonly drawn from the cupboard during celebrations and get-togethers where punch or tea is served. They become vestibules connecting bodies in the ritual of celebration and social interaction, their transparent materiality further offering a portal-like liquidity, conjuring the magic of incantation and communion. The composition is reminiscent of a makeshift swing, connecting us to notions of nostalgia, play, solace and hope; two Caribbean-sun-charged, clear-quartz crystals are concealed within the structure, placed there to enact balance, protection, and energy regulation.
Recommended for you
In Contiguity brings together works by five London-based artists whose varied practices converge on notions of motion, contact, tension and sound. Across video, sculpture, painting, installation and photography, Baulcombe-Toppin, Francis, Lena Hager, 翱谤迟耻帽辞 and Walker each attune their works to the contradistinctions of this subject, together forming a choreography that speaks to the ways in which our bodies traverse in time, touching, parting and passing one another.
Baulcombe-Toppin predominantly employs found objects to construct a contemporary philosophy through her spirituality, British-Bajan heritage, and rituals for collective healing. She draws on tropes of domesticity 鈥� such as crystal glasses, dark wood furniture and photographs shot on 35 mm 鈥� to evoke a sentiment of intimacy in her ceremonial assemblages. Taken out of their usual order, preserved, reconstituted, and often anointed with charged water, these items enact a mysticism that ruminates on moments of togetherness shared between generations, family and friends 鈥� from the UK to the Caribbean.
Suspended from the ceiling of the gallery hangs a horizontal bar of adjoined cut-glass mugs, most commonly drawn from the cupboard during celebrations and get-togethers where punch or tea is served. They become vestibules connecting bodies in the ritual of celebration and social interaction, their transparent materiality further offering a portal-like liquidity, conjuring the magic of incantation and communion. The composition is reminiscent of a makeshift swing, connecting us to notions of nostalgia, play, solace and hope; two Caribbean-sun-charged, clear-quartz crystals are concealed within the structure, placed there to enact balance, protection, and energy regulation.
Artists on show
Contact details
What's on nearby
