The Hand
Nov 13, 2010 - Dec 18, 2010
Taking its title and point of departure from the cult 1980s horror film The Hand, WORKS|PROJECTS latest exhibition brings together new and rare work by six British artists in an exploration of malevolence and foreboding.
The exhibition mixes moving image and drawing in different forms to populate the gallery with visions of the inanimate and disembodied conjured into life, brooding voyeurism and undertones of dark sexual desire.
The works directly and indirectly reference a classic moment in American Hollywood horror, from Mark Dean's hypnotic use of shower scene footage from Carrie and Mike Nelson's rare, macabre drawing of the murderous ventriloquist puppet from Magic, to David Musgrave's Television Drawings, that are reminiscent of malevolent forces making their presence felt through the white noise of television static in Poltergeist.
These works combine with the implicit horror in Edwina Ashton's dark rendering of her deformed simpleton doctor. The sexual violence that lurks beneath Cornelia Parker's beautiful but suggestive Pornographic Drawing is magnified in David Mackintosh's looming wall painting of an eye peering through a keyhole which ties together the tone of malevolence & sexual predation that permeates the exhibition.
Each work is a darkness. And in darkness lurks The Hand.
The exhibition mixes moving image and drawing in different forms to populate the gallery with visions of the inanimate and disembodied conjured into life, brooding voyeurism and undertones of dark sexual desire.
The works directly and indirectly reference a classic moment in American Hollywood horror, from Mark Dean's hypnotic use of shower scene footage from Carrie and Mike Nelson's rare, macabre drawing of the murderous ventriloquist puppet from Magic, to David Musgrave's Television Drawings, that are reminiscent of malevolent forces making their presence felt through the white noise of television static in Poltergeist.
These works combine with the implicit horror in Edwina Ashton's dark rendering of her deformed simpleton doctor. The sexual violence that lurks beneath Cornelia Parker's beautiful but suggestive Pornographic Drawing is magnified in David Mackintosh's looming wall painting of an eye peering through a keyhole which ties together the tone of malevolence & sexual predation that permeates the exhibition.
Each work is a darkness. And in darkness lurks The Hand.
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Taking its title and point of departure from the cult 1980s horror film The Hand, WORKS|PROJECTS latest exhibition brings together new and rare work by six British artists in an exploration of malevolence and foreboding.
The exhibition mixes moving image and drawing in different forms to populate the gallery with visions of the inanimate and disembodied conjured into life, brooding voyeurism and undertones of dark sexual desire.
The works directly and indirectly reference a classic moment in American Hollywood horror, from Mark Dean's hypnotic use of shower scene footage from Carrie and Mike Nelson's rare, macabre drawing of the murderous ventriloquist puppet from Magic, to David Musgrave's Television Drawings, that are reminiscent of malevolent forces making their presence felt through the white noise of television static in Poltergeist.
These works combine with the implicit horror in Edwina Ashton's dark rendering of her deformed simpleton doctor. The sexual violence that lurks beneath Cornelia Parker's beautiful but suggestive Pornographic Drawing is magnified in David Mackintosh's looming wall painting of an eye peering through a keyhole which ties together the tone of malevolence & sexual predation that permeates the exhibition.
Each work is a darkness. And in darkness lurks The Hand.
The exhibition mixes moving image and drawing in different forms to populate the gallery with visions of the inanimate and disembodied conjured into life, brooding voyeurism and undertones of dark sexual desire.
The works directly and indirectly reference a classic moment in American Hollywood horror, from Mark Dean's hypnotic use of shower scene footage from Carrie and Mike Nelson's rare, macabre drawing of the murderous ventriloquist puppet from Magic, to David Musgrave's Television Drawings, that are reminiscent of malevolent forces making their presence felt through the white noise of television static in Poltergeist.
These works combine with the implicit horror in Edwina Ashton's dark rendering of her deformed simpleton doctor. The sexual violence that lurks beneath Cornelia Parker's beautiful but suggestive Pornographic Drawing is magnified in David Mackintosh's looming wall painting of an eye peering through a keyhole which ties together the tone of malevolence & sexual predation that permeates the exhibition.
Each work is a darkness. And in darkness lurks The Hand.
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