Remnants and matter of past and future sit atop sifting structures – ready to be mined.

An abandoned, disanalogous acid yellow carousel points towards a near human temporal past, outmoded by obscure, necrocentric futuralities. 

A contemplation of vastness is required;  we must grasp that which is incomprehensible - we must dispel the unseen.

‘Dispelling the Unseen’ is the direct result of investigations into a contemporary whereby consumption itself becomes an insatiable futility; the body of work presented coincides at the interface of labour, manufacturing, and economic exchange, utilising their tangibility to uncover hidden processes. This is not some simple convergence but a direct acknowledgement of the interdependency of capitalism and political existence with offshore, ecological violence. A post-anthropocentric world is laid bare in its ugliness, somehow strangely captivating and alluring still - we feel a duality of repulsion and attraction to this system hurtling towards infinite nothingness. 

There is an absence inherent in these forms - a halting of time; a dialectical scene speaks to the language of lost energy, a dissipation and displacement of objects both within and external to recognisable and popular iconography. They are husks of their referential selves, whether the referent is mud, or a fairground object, they remain immediately hollow, despite exploring systems essential to existence; such systems however, in their incomprehensibility, become invisible. There is material grandeur, but such forms exist only in attempts to pierce a post-anthropocentric façade, to move beyond the increasingly unstable modes of production and consumption of neoliberal capitalism; they question mass serialisation, the archived document, and ask what humanity remains in a contemporary state forever ignorant of suffering. With our systems of capital now turning on us, it is time to confront their incomprehensibility and reject their violent and anonymising modes of operation. 

On the Artists:

James Ford (b. England) is an artist and sculptor manouvering the interdependency of technology, economy, and a matter free from material specifics. Throughout his work there is a focus on rendering incomprehensible capitalist modes of operation tangible to reject a contemporary discursive separation of consumption and offshore violence inherent in industrialism; much is left unknown, but temporally obscure fragmentations and forms, transcendent in their specificity and universality, point towards the forever obscured. Theirs is a practice rooted in the reality of contemporary existence, one dominated by a capitalist logic which now commodifies even our own bodies - in this recognition of reality, there is hoping for some kind of stoppage, and for an eventual realignment with our own material reality.

Marian Lee (b. South Korea) is an artist and over-thinker who has recently come to terms with the undeniable truth of it all - that there is no such aching undeniable truth. Currently concerned with ideas of performativity, absurdity, and labour, they seek to coalesce disparate ontological gestures and integrate elements of participation that privilege and inhibit the viewer's experience of the work. Creating disobedient objects, spaces, and systems that cyclically attempt to negate their imbued function and form, ultimately betraying you, me, and themselves.