A Gradual Stiffening (Mentis)
2018, bespoke passementerie (dyed cotton), glazed ceramic, beech, 56cm x 50cm x 24cm 

A Gradual Stiffening (Mentis) consists of custom made rope that was produced at the Mentis brocade workshop in Athens. As a significant player in Greek’s industrial history the elaborate passementerie produced by Mentis once adorned King Otto’s court of nobility, civil servants and mercantile bourgeoisie, who were generous clients that demanded representative attire and opulent home decoration. Wright has a long standing interest in the textile industry due to the material’s versatility. It has always been one of the most resilient forms of trade due to the ease of its distribution. In terms of the proliferation and understanding of cultural identity across boarders and geographies, textiles is significant due its durability and its ability to communicate through pattern and symbolism.

An iteration of her ongoing research project, A Gradual Stiffening, Wright presents the rope produced at Mentis on glazed ceramic cones, directly echoing the commonplace system for the storage of dyed yarns. Wright’s work frequently references the visual languages of various forms of production and display as a way of considering the trajectory and potential of material - and to assert that things are always in development, including culture and the establishment of historical narrative. The rope’s dyed pastel hues resemble the colour palette that runs through much of Athen’s urban sprawl—often seen on the balconies and facades of the city’s prolific polykatoikia buildings, the primary outdoor, social spaces of the city’s inhabitants—and in selecting these Wright intends to connect and embed the materiality and history imbued within the production of the rope with the city itself: The city as a factory of itself.

Arcade, London 
10 June — 29 July 2017

In June 2017 Drop City will be collaborating with Arcade Gallery in London on CHOREOGRAPHY, an exhibition with a series of accompanying events, organised and complied by Paul Becker.
The exhibition at Arcade takes as its starting point the work of the French writer/director Marguerite Duras and in particular, two of her films: India Song (1975) and Baxter, Vera Baxter (1977). In both films, as in many of the novels, a central figure, herself inert, acts as the epicentre. In one film, she lies in bed all day, never leaves her house while the rest of the characters constellate around her story. In the other film, she moves ‘alone, queen like’ through various ambassadorial parties and stilted, stylised and detached entanglements with a series of beautiful young men. Both films trace the choreography of these central lacunae who delineate and encrypt desire but are themselves disconnected from any emotional life. These ‘lovers without love’ act as the critical centre point in much of Duras’ work.

The exhibition will be further activated by a series of talks, readings, interventions and post facto discussion with Ghislaine Leung, Chris Fite-Wassilak, Sophie Macpherson, Sam Watson, Natasha Soobramanien and Paul Becker.