ELEfANTS

ELEfANTS

11th Jun 2014 - 21st Jun 2014

Opens 6-8pm June 11
Runs till June 21
12-5 Wed-Sat
12-3 Sun
Closed Mon-tues

ELEfANTS
by Prendergast & Moor
Johnny Fitz
Jonathan Mayhew
Joe Scullion

In framing worldly experiences, art objects are as pointed in their omissions as their inclusions. With the complications of most modern galleries reduced to a minimum, objects preconceived as alien to the exhibition environment might be plumped for consideration by the viewer. These instincts can be difficult to trump when visual hitches enter our field of view: plug sockets, paraphernalia for emergencies, plumbed appliances and miscellaneous protuberances veiled on the wall with layers of white paint. The sheer white cube is the endgame of minimalism’s sublimation of the exhibition arena, yet, it too, is framed by the objects introduced to it for exhibition. ELEfANTS takes The Joinery’s galleries – which have stayed close to their initial internal layouts – as a ready-made, working with some of the perennial elements, both physical and symbolic that might be (subconsciously at least) identified with the organisation. The stoic ubiquity of the red stove, casts it as a poster-boy for these idiosyncrasies, having served a non-speaking role in almost every exhibition in the gallery to date. This is a love letter to a building, assuming it not as a neutral vessel, but as a befoibled character to be celebrated.

We acknowledge The Arts Council in part funding the work of Jonathan Mayhew.

Facebook event

ELEfANTS by Prendergast & Moor Johnny Fitz Jonathan Mayhew Joe Scullion In framing worldly experiences, art objects are as pointed in their omissions as their inclusions. With the complications of most modern galleries reduced to a minimum, objects preconceived as alien to the exhibition environment might be plumped for consideration by the viewer. These instincts can be difficult to trump when visual hitches enter our field of view: plug sockets, paraphernalia for emergencies, plumbed appliances and miscellaneous protuberances veiled on the wall with layers of white paint. The sheer white cube is the endgame of minimalism's sublimation of the exhibition arena, yet, it too, is framed by the objects introduced to it for exhibition. ELEfANTS takes The Joinery's galleries – which have stayed close to their initial internal layouts – as a ready-made, working with some of the perennial elements, both physical and symbolic that might be (subconsciously at least) identified with the organisation. The stoic ubiquity of the red stove, casts it as a poster-boy for these idiosyncrasies, having served a non-speaking role in almost every exhibition in the gallery to date. This is a love letter to a building, assuming it not as a neutral vessel, but as a befoibled character to be celebrated. We acknowledge The Arts Council in part funding the work of Jonathan Mayhew. "Facebook event":https://www.facebook.com/events/904446552906068/ELEfANTS by Prendergast & Moor Johnny Fitz Jonathan Mayhew Joe Scullion In framing worldly experiences, art objects are as pointed in their omissions as their inclusions. With the complications of most modern galleries reduced to a minimum, objects preconceived as alien to the exhibition environment might be plumped for consideration by the viewer. These instincts can be difficult to trump when visual hitches enter our field of view: plug sockets, paraphernalia for emergencies, plumbed appliances and miscellaneous protuberances veiled on the wall with layers of white paint. The sheer white cube is the endgame of minimalism's sublimation of the exhibition arena, yet, it too, is framed by the objects introduced to it for exhibition. ELEfANTS takes The Joinery's galleries – which have stayed close to their initial internal layouts – as a ready-made, working with some of the perennial elements, both physical and symbolic that might be (subconsciously at least) identified with the organisation. The stoic ubiquity of the red stove, casts it as a poster-boy for these idiosyncrasies, having served a non-speaking role in almost every exhibition in the gallery to date. This is a love letter to a building, assuming it not as a neutral vessel, but as a befoibled character to be celebrated. We acknowledge The Arts Council in part funding the work of Jonathan Mayhew. "Facebook event":https://www.facebook.com/events/904446552906068/
ELEfANTS by Prendergast & Moor Johnny Fitz Jonathan Mayhew Joe Scullion In framing worldly experiences, art objects are as pointed in their omissions as their inclusions. With the complications of most modern galleries reduced to a minimum, objects preconceived as alien to the exhibition environment might be plumped for consideration by the viewer. These instincts can be difficult to trump when visual hitches enter our field of view: plug sockets, paraphernalia for emergencies, plumbed appliances and miscellaneous protuberances veiled on the wall with layers of white paint. The sheer white cube is the endgame of minimalism's sublimation of the exhibition arena, yet, it too, is framed by the objects introduced to it for exhibition. ELEfANTS takes The Joinery's galleries – which have stayed close to their initial internal layouts – as a ready-made, working with some of the perennial elements, both physical and symbolic that might be (subconsciously at least) identified with the organisation. The stoic ubiquity of the red stove, casts it as a poster-boy for these idiosyncrasies, having served a non-speaking role in almost every exhibition in the gallery to date. This is a love letter to a building, assuming it not as a neutral vessel, but as a befoibled character to be celebrated. We acknowledge The Arts Council in part funding the work of Jonathan Mayhew. "Facebook event":https://www.facebook.com/events/904446552906068/ELEfANTS by Prendergast & Moor Johnny Fitz Jonathan Mayhew Joe Scullion In framing worldly experiences, art objects are as pointed in their omissions as their inclusions. With the complications of most modern galleries reduced to a minimum, objects preconceived as alien to the exhibition environment might be plumped for consideration by the viewer. These instincts can be difficult to trump when visual hitches enter our field of view: plug sockets, paraphernalia for emergencies, plumbed appliances and miscellaneous protuberances veiled on the wall with layers of white paint. The sheer white cube is the endgame of minimalism's sublimation of the exhibition arena, yet, it too, is framed by the objects introduced to it for exhibition. ELEfANTS takes The Joinery's galleries – which have stayed close to their initial internal layouts – as a ready-made, working with some of the perennial elements, both physical and symbolic that might be (subconsciously at least) identified with the organisation. The stoic ubiquity of the red stove, casts it as a poster-boy for these idiosyncrasies, having served a non-speaking role in almost every exhibition in the gallery to date. This is a love letter to a building, assuming it not as a neutral vessel, but as a befoibled character to be celebrated. We acknowledge The Arts Council in part funding the work of Jonathan Mayhew. "Facebook event":https://www.facebook.com/events/904446552906068/ELEfANTS by Prendergast & Moor Johnny Fitz Jonathan Mayhew Joe Scullion In framing worldly experiences, art objects are as pointed in their omissions as their inclusions. With the complications of most modern galleries reduced to a minimum, objects preconceived as alien to the exhibition environment might be plumped for consideration by the viewer. These instincts can be difficult to trump when visual hitches enter our field of view: plug sockets, paraphernalia for emergencies, plumbed appliances and miscellaneous protuberances veiled on the wall with layers of white paint. The sheer white cube is the endgame of minimalism's sublimation of the exhibition arena, yet, it too, is framed by the objects introduced to it for exhibition. ELEfANTS takes The Joinery's galleries – which have stayed close to their initial internal layouts – as a ready-made, working with some of the perennial elements, both physical and symbolic that might be (subconsciously at least) identified with the organisation. The stoic ubiquity of the red stove, casts it as a poster-boy for these idiosyncrasies, having served a non-speaking role in almost every exhibition in the gallery to date. This is a love letter to a building, assuming it not as a neutral vessel, but as a befoibled character to be celebrated. We acknowledge The Arts Council in part funding the work of Jonathan Mayhew. "Facebook event":https://www.facebook.com/events/904446552906068/