On Some Motifs (paravent)
2017, oiled bird’s eye maplewood veneer on gabon plywood, brass, 180x60x210cm

On Some Motifs (paravent), is a screen that operates as both furniture and art object, with the intersection of these fields a recurrent theme in Wright’s work. The inferred hierarchies of material and visual language are implied but not affirmed, rather, parity is conferred onto both. This work also evokes notions of the public and the private in its presentation. As a domestic object, the screen seems emblematic of bourgeois modesty and bodily suggestiveness. Or more pertinent questions may be asked of society and architectural cultures that have come about as a result of changes in patterns of everyday life, unfolding through the conditions imposed on domestic life by varying amounts of occupancy: the screen (paravent) used here to create illusory space in the increasingly familiar single-room, studio urbanism, perpetually reconfiguring the body in relation to space.

Thomas Hopkin 2017

Warming up
Petra Rinck Galerie

21 July — 2 September 2017

A group of works have been gathered for Warming up where visual vocabularies range from human interactions with material and living practices to intimate self-imaging. Sculptural forms and displays make reference to physical decoration and collective action, while films and images are read as diaristic, improvised or quasi-documentary accounts of narratives of material and objects’ relations to the body, and to public and private spaces.

The exhibition is invoked as a space of things to come and of things that have been, both potential and actual. For instance, photographic slides from an in-production intermedia installation by Eleanor Wright describe a personal and partial response to the seemingly forgotten home and work spaces of a reclusive Athenian structural engineer, Sophie Macpherson’s video and accompanying text reflects on her ongoing thoughts and research around the transformational possibility of clothing alongside an awareness of the precarious living conditions for an unsettled majority of people, whilst Magdalena Kita’s beach towels comprise painted impressions of the artist’s body and images of her acquaintances in ambiguous moments before, during or after both private and shared erotic encounters.

Works by all three artists represent distinct approaches to making but display definite shared concerns apropos the body and its interaction with material and living practices. While a performative action puts to use Kita’s towels during the opening reception – throughout the gallery and surrounding streets – both Wright’s and Macpherson’s sculptural objects remain suggestive of a bodily proximity. Feminist sexual legacies and activism are explored as well as gentrification, living conditions and societal histories. The exhibition provides a partial map of the areas in which all three artists are working – with the space between studio, home and public space an unstable zone.