Bermondsey, which runs in tandem with Wyn Evans’ largest solo show to date at Milan’s Pirelli HangarBicocca, proves why he is one of contemporary art’s most respected.
Drawing on the thematic potential and erotic resonance of mechanised sculptures from the 20th century combined with present-day innovations, this new body of work is an amalgamation of the artist’s inspirations, interpretations and self-reflections. Interweaving different trains of thought on the subject of mechanism, installations are suspended, obscured and mirrored, forming a captivating yet disorientating experience.
Wyn Evans’ relationship to language is of continual fascination, and the artist has consistently constructed environments to explore its notions. Here, he uses language to create multiple veils, both linguistic and physical. An architectural wall of neon – a Wyn Evans specialty – partially obscures a selection of works behind. The wall features a passage from Marcel Proust’s novel© Cerith Wyn Evans. Photography: Ollie Hammick. Courtesy of White Cube
Elsewhere, the artist uses new mediums to confront the exhibition’s themes: Still life ...VI is two rotating pleached trees placed against each other and lit by spotlights, referencing the earliest forms of mechanised moving images. A dedication to his own practice is what makes Wyn Evans’ White Cube show so compelling, looking not only to art and humanity’s mechanical past but also drawing from his own to look forward. §© Cerith Wyn Evans. Photography: Ollie Hammick.
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