Here, at the edge, today.

26 Jan-23 Mar 2024

Overview

As the g39 Fellowship comes to an end - for now - we are excited to work with Cohort 4 for a final exhibition. Zara Mader, Gail Howard, Adele Vye, Sadia Pineda Hameed & Beau W Beakhouse and Phoebe Davies.

In all of their works there is a resistance, a push back. Sometimes they talk of the physical sensation of being at the edge of change - a sinkhole, sleep, reality, cracks in pavements where life pushes through. Future things that pull the past along.

Zara Mader has been looking at the disruption and resistance of crossing stereotypes. Her ongoing brown punk series, with a focus on Poly Styrene, has profiled an underground scene, an underrepresented scene. Combined with Zine culture, fliers and street photography where the edges and corners of urban existence flourish.

Adele Vye explores physical and inner worlds. She is interested in conjuring and phenomena but also grounded by the everyday. Metaphors and magic, mourning and transformation all seep through her work. For Here, at the edge, today she is trying out new forms, an experiment in sleep and film works.

Sadia Pineda Hameed and Beau W Beakhouse are a collaborative duo. Their installations combine sculptural wood and metalwork with text, audio, film and performance to imagine autonomous and alternate futures; and to consider the relations between colonialism, labour and science fiction. Recent research into speculative architecture and social space has shaped a new installation, a prototype technology for association and communion across time.

Phoebe Davies' practice is often shaped by long-term fieldwork, she works with, and in response to, contexts and locations, generating work through performance to camera, freewriting and field recording. Her work uses bodies and voices to explore the subtleties and tensions at the edges of visceral human experiences and personal politics. For this new moving image work Davies is turning the lens on herself to interrogate the perils of pregnancy, bodily trauma, lived experience and mythologies.

Gail Howard’s work takes the form of a printed dialogue that swings between the mundane and domestic to profound existential questions. Printed on a weightless fabric, they hang the full length of the space and drift in and out of the exhibition. The work has a sort of circularity, a call and response in its search for reassurance and restless shifting of subject – always at the edge of change.

Here, at the edge, today is the tension between the way things are, the way things have been and the ways in which they can change.