, Newington Street
17th September – 18th November 2010
In the year 2020 - ten years from now - what will we remember of 2010,
the year we call the present time? In all honesty, who can really say?
Whatever the answer may actually be, EggSpace’s contribution to
the Independents Biennial, TwentyTen, is certainly a highlight of the
year so far for this reviewer. There is so much packed into the EggSpace
this time around that I took my time in considering each piece and only
now do I feel ready to get my review spectacles on and reveal just what
stood out for me in a gallery filled with pieces worthy of more than just
a moment of your time.
The piece that caught my eye almost as soon as I entered the famed purple
doors was Leon Jakeman’s intriguingly titled piece Shivering Denziens
of his Mad Realm which is made from “black glossy stuff” and
would most definitely look good on the wall of my ideal home! It’s
almost featureless look is a perfect juxtaposition with its enigmatic
title and more work like this would be welcome indeed. Paul Francis’
Clean Living under Difficult Circumstances is a straightforward image,
yet somehow filled with possibilities, as a man fixes his tie in the mirror,
looking either thoughtful or distant. It’s a simple effect, and
what the man’s difficult circumstances are exactly is entirely up
to your imagination in a fun twist on interactivity with the audience.
Another piece that caught my eye is Nick Jones’ 3D, a piece that
places the outline drawing of a storm trooper over the outline of Hello
Kitty in a juxtaposition that really makes you think. Of what, I’m
not sure exactly and maybe that’s the point. After all, everything
is connected in some way and its modern outlook and minimalistic design
make for a unique piece. Many of the standout pieces in Twenty Ten are
photographic, which makes a good range of works for the eye. Amongst these
pieces is Karen Henley’s timely Gone, Forgotten?, an image of a
section of one of the many derelict buildings of Liverpool that is unfortunately
now gone. Another photographic piece that bears mentioning is Anton Dolders’
Optical Synapse, which is an almost nightmare-like piece using green and
subdued grey-yellow colours to make a synapse appear in the shot. Look
close up or far away, it’s fascinating from both aspects.
Now, there is so much more I want to tell you about but there is still
time to see this show in all its grassroots glory, and when the people,
food and surrounding are so inviting you know it makes sense to come and
see it all for yourself. How about it?
Comment left by HeadSpace on 14th November, 2010 at 18:20
Thanks for the review!
Jazamin & Karen