Tuesday, 23 June 2009

100th Monkey

Claire Davison, Bryony Moore, Suzanne Smith (100th Monkey)

It's the insignificance of actions or perhaps the hidden significance that we as humans imply that Claire Davison finds herself most fascinated by. As there seems to be no tangible connection between the observations made, she has come to realize that it's the little things that bridge the gap. You have to watch closely and Davison hopes that she is able to induce some sense of self awareness, be it by trickery or by boredom. It’s the absurdity of being human that tickles her, child's play, a fear of the serious that dominates her work.

Based always around the day-to-day business of living, Bryony Moore’s work seeks to aggravate the internal battle waging quietly between our emotional and intellectual selves. She is preoccupied by the lines we draw between ourselves and other people/beings/things and the awkwardness of these complex
relationships which go on existing despite the dissimilarity.

At once gloomy and playful, Suzanne Smith’s work is something of an uptight exploration of brevity and inappropriateness. She tends to dwell on the mundane trauma of social interaction - quietly obsessing on the line between irritation and arousal. A desire for control has been betrayed in previous work by the dictation of rhythm, alphabetisation of images and the striving for manual perfection through the painstakingly handmade.


For ANTIFREEZE, 100th Monkey artists Davison, Moore and Smith have devised a context-specific group show, in which the minutiae of everyday interactions are elephantised, pored over and solutions offered to problems which may or may not exist.

Davison’s work focuses on the absurdity of that simple gesture the wave. It is one movement, but why not another, why not something that signifies more clearly what it is your feeling at the time. By continuously waving at one another, two screens are forever caught in this loop, focusing all the attention on the wave and stripping it down to what it physically is, a hand gesture, a wave.

Moore has been collecting pet portraits from ‘free to good home’ adverts on the website
www.gumtree.com. Touched by the pets’ unawareness of their impending fate at the moment these pictures were taken, Moore has rescued the images and seeks to rehome them with kindly ANTIFREEZE visitors.

Smith has placed three tennis ball faces – two happy, one sad – in the boot of her car and filmed them during the drive to and from work. Lit by torchlight, each ball becomes a protagonist in a morbid mini-epic where friendships and cruelties are pointlessly invented and then needlessly exposed.

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