The Irish Pavilion 58th International Art Exhibition – La Biennale di Venezia Artiglierie, Arsenale
May 11th – November 24th, 2019
Irish artist Eva Rothschild has created an ambitious and immersive exhibition for the Irish Pavilion at the 58th International Art Exhibition – La Biennale di Venezia. Continuing her exploration of sculptural presence, Rothschild presents a physical environment which materially resonates with current political concerns and our ongoing sense of global uncertainty.
The Shrinking Universe consists of four works made up of multiple elements. Each sculpture retains its own distinct presence while forming a cohesive totality within the pavilion. The array of materials that Rothschild uses in her work, alongside the distinction between the presence of the artist’s hand and industrially-created works, brings about a tension between the monumental and the personal. Drift (2019), a wall of cast concrete blocks painted in Rothschild’s signature geometric forms, is architectural and foreboding, its position controlling our entry to the space. Heaped against this wall we find a mass of cast forms hovering between the referential and the abstract, alluding to both geographical forces and the disposable nature of consumable materials.
In Amphi (2019) a series of cast polystyrene blocks are pushed together, pockmarked and graffitied they are reminiscent of a temporary road block or barricade. The viewer is invited to engage with this social sculpture, to climb and to sit, to directly encounter the piece and to become both spectator and participant, actively present within the work. From this viewpoint Princess (2019) rises from a base of cast columns at the centre of the pavilion, its triangular forms stretching high above the ground and forcing our eyes to trace its precarious and optimistic progression. The sculpture rests on waxed fabric crash mats, demarcating a space of safety around the sculpture, but failing to fully contain it as it meanders beyond its boundaries into the surrounding space.
Both Amphi and the truncated columns reference the ruins of past civilizations, while the antic triangular elements of Princess attempt a progressive geometric escape from their earthbound forms. In the midst of this sculptural activity, Rothschild’s Spektor (2019), a cast bronze of towering head-like forms, acts as a sentinel or ghostly presence: a watcher by the gates coolly observing the other works. Rothschild’s works are dynamically active, unapologetically monumental and bold. Expanding on the artistic lexicon of process, form, scale and materiality, Rothschild creates her own unique sculptural language. The Shrinking Universe is an invitation to look, to be attentive to your surroundings and most of all to be present with the work.
Void is delighted to present The Last of England, an exhibition that explores the work of one of Britain’s most iconic filmmakers, painter, writer, gardener and political activist Derek Jarman. During the ‘80s and ‘90s, Jarman shifted from being apolitical – with his films documenting his private life in a ‘cinema of small gestures’ – to being at the centre of the queer movement, with his activism firmly integrated into his films. In this exhibition Jarman’s politics and activism are at the forefront; the GBH painting series (1983-84) and his film The Last of England (1987) reflect and resonate with our current political crisis.
Created in response to social injustices of the late ‘80s, the themes of The Last of England still reverberate widely across contemporary Britain and Northern Ireland. Jarman’s apocalyptic, postcolonial depictions of the ‘fall of England’ – reflecting the country’s desire to return to its ‘Imperial days’ – are ever present in the current political landscape, from Brexit, parliamentary suspensions and the absence of a government at Stormont, to the rise of nationalism, fascism and state surveillance. We are at an impasse in Northern Ireland and are once again at the mercy of Westminster decision-making. The film references the AIDS epidemic and the collective trauma that was experienced at that time. The film was initially going to be titled GBH The Last Of England, reflecting the destruction of the landscape and culture of England, and more personally the body through AIDS. Jarman said the GBH could stand for “whatever you want it to: grievous bodily harm, great British horror, gargantuan bloody H-bomb”. Instead he used the GBHtitle for his painting series, depicting the map of England in various stages of being enflamed. In exhibiting these works, it punctuates this particular moment in Northern Ireland and the UK political history, to show the parallels in the political struggle from then and now.
In the Shadow of the Sun (1981) will also be exhibited, reflecting his earlier works that are more biographical; a series of Super 8 films that were shot between 1972 and 1975, edited together with the soundtrack by Throbbing Gristle. This film was part of a body of film works referred to as the ‘cinema of small gestures’; the use of filters and the atmosphere of the film contrasts the dystopic sensibility of The Last of England.
The culmination of these works at Void allow for both a celebration of his work and highlight the continuing need to agitate and disrupt. The legacy of Jarman’s work and gay rights activists both past and present are demonstrated in recent societal and legislative changes; legalisation of gay marriage in Northern Ireland. Jarman’s work is prescient and has a strong resonance to our times.
Derek Jarman (1942-1994) was an English film director, stage designer, diarist, artist, gardener, political activist and author. He was educated at the University of London and at the Slade School of Art. In 1967 Jarman exhibited in Young Contemporaries, Tate Gallery, London (prizewinner); Edinburgh Open 100, Lisson Gallery, London and Fifth Biennale des Jeunes Artistes, Musée d’Art Moderne, Paris. Jarman’s first work in the cinema was as a set designer on Ken Russell’s The Devils (1971), selected set designs include Savage Messiah (1972) and The Rake’s Progress (1982) with numerous designs for stage and ballet. Jarman’s first films were experimental Super 8mm shorts, his first full-length feature film Sebastiane was released in 1976, followed by selected films Jubilee (1978), Angelic Conversation (1985), Caravaggio (1986), The Garden (1990) and Edward II (1991).
Selected solo exhibitions: Sarah Bradley’s Gallery, London (1978); Edward Totah Gallery, London (1982); ICA, London (1984); Richard Salmon Ltd., London (1987) and Whitworth Art Gallery, Manchester (1994). Jarman also wrote several books, including the autobiographical Dancing Ledge (1984) and two volumes of memoirs, Modern Nature (1992) and At Your Own Risk (1992). Derek Jarman’s Garden, which documents the creation of his extraordinary garden at Dungeness was published in 1995.
PROTEST!, published by Thames and Hudson 2020
IMMA and Thames and Hudson will publish a major new monograph on Derek Jarman to accompany the retrospective at IMMA, covering Jarman’s artistic development as well as reflecting on his life and legacy. The book will feature contributions from Seán Kissane, Curator, IMMA; Mary Cremin, Director, Void Gallery, Sir Norman Rosenthal; Jonny Bruce, gardener and journalist; Professor Robert Mills, University of London; Jon Savage, music critic and writer; Michael Charlesworth, an authority on landscape and the history of gardens and author of the book ‘Derek Jarman, Critical Lives’, and writers Olivia Laing and Philip Hoare.
The exhibition will co-incide with a major retrospective of his work at the Irish Museum of Modern Art in partnership with Manchester Art Gallery, and is accompanied by additional projects at John Hansard Gallery, Southampton.
In all works of fiction there belies an agreement that the reader/the viewer will allow for a suspension of disbelief. In this exhibition I Am What You’ve Come To See, the artist Sonia Shiel has transformed the three gallery spaces into a circular narrative, casting the audience as its central protagonist. The viewer is compelled to move through the galleries by a series of scripted audio-visual instructions, strategic objects and obtuse props that feign seemingly ungovernable chances – in a shape-shifting journey that is entirely staged.
The use of text, stagings, props and painting are preoccupations in Shiel’s practice. These works are both performative and self-referential with the central narrative being an instructional conversation between the artwork and its maker. The paintings portray various landscape/natural elements and patterns, imprecise geometries, and translucent planes of colour and shape. Mimicking a digital landscape that encompasses both the archaeological and futuristic, the works have mobile components which, when activated, suggest how mysterious and magical qualities might influence the directions we take, even in the presence of intent.
Shiel’s expansive practice shifts us between the fantastical and the real and often refers to our impotency within world affairs while celebrating the notion of agency and our endeavours to affect change. Within this body of work she flips the hierarchy; the artworks assert control over the outcome and we become players within its stage.
Sonia Shiel is an Irish visual artist based in Dublin. She has had recent exhibitions and performances at the Kevin Kavanagh Gallery, Dublin; The Glucksman Gallery, Cork; Artbox, Dublin; The NCAD Gallery, Dublin; The Treeline Pavillion, Dublin; The Observatory,UCD, Dublin and The Crawford Gallery, Cork. Other selected exhibitions include Temple Bar Gallery and Studios, Dublin; Rua Red, Dublin; The Irish Museum of Modern Art, Dublin; Project Spaces, Dublin; the ISCP, New York; The Oonagh Young Gallery, Dublin; The Cable Factory, Helsinki; Pallas Contemporary Projects, Dublin; The Model, Sligo; Atelier Frankfurter; Centre Culturel Irlandais, Paris; the RHA Galleries I and II; Ormston House, Limerick; and the Butler Gallery, Kilkenny, among others.
She has been the recipient of the Tony O’Malley Award from the Butler Gallery and the Hennessy Craig Award from the RHA. She has received a number of Bursary and Project Awards from The Arts Council; Culture Ireland; DLRCC; and the DCC. Her work features in several international, public and private collections, including the DLR Municipal Collection; the Arts Council of Ireland, the City of Frankfurt, the Glucksman Gallery and the Office of Public Works. She was Artist in Residence for Arts and Humanities, at the School of English, Drama and Film at UCD, Dublin from 2016-18. Other residencies and fellowships include the Art and Law Program, New York; the ISCP, New York; HIAP, Helsinki; The Kulturbunker, Frankfurt; Temple Bar Gallery and Studios, Dublin; and the Leighton Artists Studios Residency at The Banff Centre, Alberta.
Command Lines is a theatrical installation of sculpture, performance and animation by artist Candida Powell-Williams. The works re-imagine the iconic tarot as a three-dimensional experiment in symbolism, action, story-telling and magical thinking. Powell-William’s installation uses the term Command Lines to frame the exhibition, insinuating systems, networks and feedback loops, control over and order of information. Her work builds on the play between performance, technology and sculptures that act as props to her fantastical stage setting, calling into questions structures of reality.
Throughout the gallery there is a multitude of scales and forms of sculptures that determine how we interact with the works. At the centre point of the exhibition there are colourful stationary sculptural forms that are a chaotic shambles apparently poised, ready for action; the space punctuated with enlarged heavy, stationary symbols.
This main body of work acts as an anchor that feeds back and circumnavigates the works in the adjoining gallery spaces.
There are miniature scale versions of the same forms, ordered in 10 dioramas arranged as a Celtic cross tarot spread. The viewer is invited to peer into each proscenium discovering abstract forms, empty castles and temple-like structures, animal heads and frozen magician’s gloves. The tarot is stripped of its archetypal human imagery leaving a space to fill and pushing the symbolic to the fore.
An interactive ‘game’, answering the viewer’s question with a series of animations derived from the performance and accompanied by a poetic voice; these vignettes mix ballet and computing terminology which, rather than giving divinatory guidance, are in fact instructions for the performance. This leads the viewer back to the main gallery where the props and costumes are waiting, as though inviting the audience to pick them up and start configuring their own imaginative reading.
The elements of performance and the sculptural props repeat and mutate across the galleries. Block sculptural forms and symbols are echoed in different media (ceramics, Jesmonite, resin, embroidery, textiles, drawing, animation) and different scales (human size and miniature), flipping back and forth creating a repetitive, self-referential loop, experimenting with positive and negative space; past and present; stationary and moving; animate and inanimate; soft and hard. The range of materials and textures reference digital pixilated landscapes rendered in the physical with apparently dissolving edges, wobbly geometry and bear the intimacy of the handmade to explore the mutability of meaning as they come together in a cacophony of voices.
The project is a culmination of research and development during a residency at London’s Warburg Institute, exploring the endurance of esoteric ideas and the cultural heritage of tarot, archetypes and mutation of symbols. A longstanding interest in our attempts to navigate the ‘Absurd’ led Powell-William to consider mysticism within storytelling and its meeting point with the mundane materiality of objects.
Powell-Williams’ work is a response to researching the slippage that occurs between primary and secondary source material in relation to historical artefacts. By discarding the original source and reimagining objects as a product of their interpretation she explores the consequences of retelling history and how we construct identity through objects and memory. She manipulates historical narratives, plucking references from disparate eras, folding them into the present and condensing them into a singular experience.
Candida Powell-Williams graduated from the Royal College of Art, London in 2011 and the Slade School of Fine Art London in 2009. Her sculptural and performance works are a response to researching the slippage that occurs between primary and secondary source material, exploring the consequences of retelling history and how we construct identity through objects and memory. She was recently Artist in Residence at The Warburg Institute London. Selected exhibitions include: Lessness, still quorum, performance, Serpentine Galleries, London (2018); Boredom and its Acid Touch, Frieze Live, London (2017); Tongue Town, Museum of Modern Art, São Paulo (2017); Cache, Art Night Associate Programme, London (2017); Vernacular History of the Golden Rhubarb, Bosse & Baum Gallery, London (2017); PIC performance festival, Melbourne, Australia (2016); Coade’s Elixir-an occupation, Hayward Gallery, London (2014). Powell-William’s is the recipient of the 2018 Mother Art Prize with a group show at Mimosa House London (2019). Other awards include the Sainsbury Scholarship at the British School at Rome (2012-13), the Paris Residency at Cite Internationale des Arts, (2010), Eric and Jean Cass Sculpture Award (2010-2011). In 2019 common-editions published Powell-William’s 78 card tarot deck and artist book.
There is now an expectation of visibility, from any place, at any time and by anyone.
– Sven Anderson & Gerard Byrne
A Visibility Matrix is an artwork that explores the politics and conditions of visibility. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, A Visibility Matrix assembles contributions from a distributed panel of artists, film-makers and others within a synchronised, multi-channel video installation.
A Visibility Matrix emerges as a response to the ambitions of abandoned art and technology projects from the 1960s–1980s that prioritised multi-screen video projection, monitor arrays, communications networks and algorithmic composition principles. These projects explored visual excess and hyperstimulation prior to the development of the Internet, and before multi-screen video displays expanded into the vernacular backdrop of everyday public and private life. Considered now, the plural voices of these experiments in perception and communication simultaneously prophesise and bypass the homogenised conditions that have come to be accepted as network culture.
Exploring the paradigms of what we see and how we construct visual knowledge, A Visibility Matrix returns to the instincts of these projects. It proposes a condensed counterpoint to the migratory, hyper-networked nature of visibility in contemporary culture by conjuring an offline matrix of video material presented in the gallery space for communal observation. The artwork speculates on an alternative to the composite formed by subject + smartphone + online-video-sharing-platform that has come to represent the current standard of visibility. It gathers content through an associative network of collaborators including visual anthropologists, cinematographers, documentary filmmakers and others from across the globe. By shifting focus from the production of images for sharing online to their reception in a shared, fixed-time spatial context, A Visibility Matrix offers another window on visual excess, confronting its own situated spatiality in order to reflect the more universal conditions that it addresses.
A Visibility Matrix manifests as a network of screens and spatial gestures, in which we observe images being duplicated, mirrored and displaced. These gestures unfold over days and months of exhibition, pursuing both repetition and re-assembly. The system that determines these patterns reveals itself through its precision but also through moments of uncertainty, asserting its presence through a series of vocal cues that punctuate the relationship between the database of video and the space of exhibition. This system speculates on the possibilities of video not as passive image but as an active signal, and the gallery as a site of condensation; a shared space and a space of reflection.
A Visibility Matrix includes video material aggregated from a network of collaborators including:
Daniel & Marie Law Adams, Rosa Aiello, Matt Bakkom, Rosa Barba, Eric Baudelaire, Beat Detectives, John Beattie, Ericka Beckman, Maeve Brennan, Andreas Bunte, Duncan Campbell, Matija Debeljuh, Dennis Del Favero, Willie Doherty, Jeanette Doyle, Moritz Fehr, Diego Ferrari, Darko Fritz, Rene Gabri & Ayreen Anastas, Mariam Ghani & Chitra Ganesh, Ross Gibson, Judith Goddard, Jennie Guy, Louis Haugh, Kathy High, Klara Hobza, Jere Ikongio & Katja Kellerer, Ivan Marusic Klif, John Lalor, Charles Lim, Jeanne Liotta, Lovid, Hrvoje Mabic, Nicholas Mangan, Fiona Marron, Ed Mattiuzzi, Peter Maybury, Ronan McCrea, Conor McGarrigle, Toni Mestrovic, Abinadi Meza, Suzanne Mooney, Nadija Mustapic, Arnont Nongyao, Tadhg O’Sullivan, Dietmar Offenhuber, Matt Parker, Jack Phelan, Piyarat Piyapongwiwat, Jason Quinlan, Eugenia Raskopoulos, Lucy Raven, Ben Rivers, Karl Ingar Røys, Adam Sekuler, Craig Smith, Michael Bell Smith, Sean Snyder, Stephanie Spray, Danae Stratou, Daniel Von Sturmer, Jose Carlos Teixeira, Leslie Thornton, Gabriele Trapani, Sara Velas, Clemens von Wedemeyer, Grace Weir, Jeremy Welsh, Krzysztof Wodiczko and Tintin Wulia.
A Visibility Matrix was created under the editorial direction of Sven Anderson, Matthew Bakkom, Victoria Brooks, Gerard Byrne, Moritz Fehr, Igor Grubic, Dan Kidner, Nikos Papastergiadis und Oraib Toukan, and assembled with support from Louis Haugh and Fiona Marron.
A Visibility Matrix is an artwork formed through its infrastructure, system design and spatial permutations, which will continue to evolve as it moves from space to space. To date it has progressed through The Douglas Hyde Gallery (Dublin), Le Printemps de Septembre (Toulouse) and Secession (Vienna) before the current exhibition at Void.
A Visibility Matrix is funded by the Arts Council of Ireland / An Chomhairle Ealaíon and the British Council.
Sven Anderson (b. 1977) is an artist working between Ireland and the US since 2001. Anderson’s practice operates through installations, systems and performances that respond to details of the built environment, ubiquitous technological infrastructures, and fragments of local histories. Anderson’s projects incorporate methodologies premised on artist placements, shared authorship and long-term collaboration, often converging on forms articulated in public space. His public artworks The Manual for Acoustic Planning and Urban Sound Design (2013) and The Office for Common Sound (2016) probe the potential of the artist as urban planner and municipal resource. His permanent sound installation Continuous Drift (2015) explores new modes of curating sound in the public realm, presenting works from over 30 artists in an active city square. Anderson’s proposal for the UK Holocaust Memorial International Design Competition (developed in collaboration with Heneghan Peng Architects) was awarded honourable mention (2018). Recent video works include When I go home, I cut through (2018), GOLDENPRECIOUSFIELDSUNFOLD (2017) and Before the Flood (2015).
Gerard Byrne (b. 1969) lives and works in Dublin. His work in photography, film, theatre and multi-screen installation examines the slippage between time and the act of image creation. Recent solo exhibitions include Secession, Vienna, Austria (2019); Moderna Museet, Stockholm, Sweden (2017); Australian Centre for Contemporary Art, Melbourne, Australia (2016); Mead Gallery, Warwick Arts Centre, Coventry, UK (2016); and Kunstmuseum St. Gallen, St. Gallen, Switzerland (2015). He has also participated in Sculpture Projects Münster, Germany (2017); dOCUMENTA 13, Kassel, Germany (2012); Performa, New York City, NY, USA (2011); the 54th Venice Biennale, Venice, Italy (2011); Auckland Biennial, New Zealand (2010); Gwangju Biennial, South Korea (2008); Sydney Biennial, Australia (2008); Lyon Biennial, France (2007); Tate Triennial, London, UK (2006); and the Istanbul Biennale, Turkey (2003). In 2007 he represented Ireland at the 52nd Venice Biennale.
The title Opened Ground is taken from a collection of poems by Seamus Heaney; written between 1966 and 1996. The poems span a turbulent time in Northern Ireland and delve into both the physical and psychic landscape of that period. The presence of the border is part of the complex narrative of Northern Ireland creating divisions and divides. Since the Good Friday Peace Agreement in 1998 the infrastructures of the military checkpoints have been decommissioned and have become part of the past. With the approaching deadline of Brexit, and the lack of clarity on how the border between Northern Ireland and the Republic of Ireland will manifest, it gives rise to the tension of the possibility of the re-emergence of a ‘hard border’.
Borders are a contentious issue locally, nationally, and internationally. The idea of territorial markings has historically been a constantly shifting ground. The invited artists in this exhibition have a shared history as each have a unique relationship with the landscape they reflect on; there is a biographical element to each, bearing witness to the lived experience of both past and present borders, and their effect on society as a whole.
Willie Doherty’s early photographic work from the 80’s and 90’s is a powerful reminder of how borders, primarily a political agenda, dislocates culture and the shape of people’s identities and histories. The photographs document how history can mark a terrain and how memory is marked in the landscape. The series of photographs of the border document empty roads reaching into the landscapes laden with overtones of what came before. The poignant photograph The Road Ahead (1997) carries new meaning with the uncertainty of what is to come.
Amar Kanwar’s piece A Season Outside (1997) explores the demarcation line between India and Pakistan. The film narrated by the artist reveals the anxiety that surrounds the militarised border between India and Pakistan. Partition, the British government’s 1947 division of the Indian subcontinent into two nations—Hindu-majority India and Muslim-majority Pakistan—left millions of people on the wrong side of a border, causing violence that has since escalated into an arms race. Kanwar, through his narration and imagery, lays bare the violence that erupts from this dispossession.
Aslan Gaisumov’s piece People of No Consequence (2016) explores the effect of displacement of Chechens from what was known as the Soviet Union to Central Asia in 1944. The people gathered in the work represent the collective memory and narrative of the effects of territorial shifts. It is a reminder of the human consequence of political manoeuvring.
With the instability of global politics and economic precarity, we have witnessed the rise of nationalism and identity politics. The border crisis in Northern Ireland is one signifier of global anxiety. The border currently exists as an imaginary line; a change in texture of road surfaces, a representation of an historical point within our history. The unknown outcome of our political situation turns our attention once more to the border.
Since the 1980s, Willie Doherty has been a pioneering figure in contemporary art film and photography. At once highly seductive and visually disorientating, Doherty’s artworks tend to begin as responses to specific terrains (most often mysterious isolated settings; places, we suspect, with a troubled past) and evolve as complex reflections on how we look at such locations – or on what stories might be told about their hidden histories.
Aslan Gaisumov (b. 1991 in Grozny, Chechnya) lives and works in Grozny and Amsterdam, NL. He is currently enrolled at Rijksakademie van Beeldende Kunsten, Amsterdam. Current and recent exhibitions include: If No One Asks, CAG Contemporary Art Gallery (Vancouver, CA, 2019); Crystals and Shards, Kohta Kunsthalle, (Helsinki, FI, 2018); Beautiful world, where are you?, Liverpool Biennial (Liverpool, UK, 2018); Everything Was Forever Until It Was No More, 1st Riga Biennale (Riga, LV, 2018); All That You See Here, Forget, Emalin (London, UK, 2018); I Am a Native Foreigner, Stedelijk Museum (Amsterdam, NL, 2017); How To Live Together, Kunsthalle Wien (Vienna, AT, 2017); and People of No Consequence, Museum of Contemporary Art M HKA (Antwerp, BE, 2016).
Amar Kanwar has distinguished himself through films and multi‐media works, which explore the politics of power, violence and justice. His multi‐layered installations originate in narratives often drawn from zones of conflict and are characterized by a unique poetic approach to the personal, social and political. He is the recipient of numerous awards, including most recently the Prince Claus Award (2017).
Kanwar’s solo exhibitions of the last two years include: Luma Arles; Minneapolis Institute of Arts, Minnesota; and Tate Modern, London (2018); Bildmuseet, Umea (2017); Goethe Institut/Max Mueller Bhavan, Mumbai (2016); Earlier solo exhibitions include the Stedelijk Museum, Amsterdam (2008); the Whitechapel Art Gallery, London (2007); and the Renaissance Society, Chicago (2004), among others. He also participated in the first Lahore Biennale (2018), documenta 11, 12, 13, and 14 in Kassel, Germany (2002, 2007, 2012, 2017).
Crichton creates large-scale sculptures and installations that investigate the built environment. His research revolves around concepts of urban voids, hauntology, anti-monuments, post-minimalism, and silence. Aesthetically driven and predominately site-specific, his work is often characterised by a dialectic approach that challenges traditional perceptions and the cultural environment.
Crichton’s installation at Void continues his investigation into the monuments, their meaning and their resonance, both symbolically and materially. Crichton’s field recording of the Walker Memorial (1828) explores the contentious nature of its history whilst invoking a presence of absence, or equally, the absence as presence. The recordings of the monument will capture the resonance of sound through the material of the built environment. In collaboration with Derry musician Autumns (Christian Donaghey) the sounds will be mixed to create a soundtrack for the sculptural environment in the gallery space.
The installation of amplifiers replicates the dimensions of the plinth in sculptural form. The connection between the sound and the sculpture is one of physicality, the viewer through their presence activate the piece through interaction, both with the sound and their presence.
Biography of Artist
Liam Crichton is a Scottish artist currently based in Belfast. He graduated from the Edinburgh College of Art in 2010 and is known for creating large-scale sculptures and installations that investigate physical space. Containing references to, and elements of a post-minimal realisation, his aesthetically driven and predominately site-specific work is often characterised by a sense of dichotomy that challenges traditional perceptions and cultural surroundings. In a systematic and reductive process, he breaks down the impression of the familiar to its bare essence. Crichton has recently exhibited in Edinburgh, London, Philadelphia, Dublin, and Belfast.