The Endless is the title of an ensemble exhibition of art curated by Angelika Corral and Sheldon B as a part of their DaphneArt presentations. It features works by Ariel Brearley, Awesome Fallen, Kiki, Maloe Vansant, Nevereux, Paola Mills and Whiskey Monday, and it is a display where the art space itself might be considered as much a part of the exhibition as the images and pieces themselves.
Located high above ground, the exhibition space a place of geometries and reflections. A large grid forms the main platform crossed – literally – by two footpaths. At one end of this grid is a tiered seating area, split along one axis to presented a mirrored arrangement. Facing this, at the far end of the grid, sits a black hemisphere. set between the two are four cubes and two pyramids, neatly arrayed in two sets of three – again as if reflecting one another – either side of the path running from the seating area to the hemisphere. All of these elements – seating, cubes, pyramids and hemisphere are additionally “reflected” by copies beneath the grid, mirroring their placement.
I’m not entirely clear on the significance of this arrangement beyond the idea that when placed correctly, two mirrors can give a sense of infinity through their endless reflections of one another, which might appear to echo the title of the exhibit. However, what I can say is, the design – by Sheldon B – is highly effective and eye-catching.
The work of the seven invited artists can be found within the various cubes, pyramids and hemisphere, which alternate in exterior finish between whites and black. Each artist presents at least one work, with not offering more than three. These again continue to mirrored them – each piece seemingly “reflected” in the floor of its display space.
The themes for the pieces are varied in style and tone. Again, I’m unclear as to the central theme (if there is one) – the DaphneArts website was down at the times of my visits, and the invitation I received to visit the exhibition was sans curator’s notes. Suffice it to say, there is a certain edge to all the pieces, be it sensuous, thought-provoking, nudity or a discomfiting reminder or two of out own mortality.
Certainly, each display is eye-catching, evocative (or provocative), emotive and variously attractive. However – and for once – I’ll leave it to you to visit The Endless for yourself and discern your own understanding of the pieces and the exhibition as a whole. Which should not be taken to mean I’m being dismissive of it in any way. Rather, this is an ensemble of work and setting which deserves direct viewing and interpretation, rather than being filtered by my thoughts.
The Endless (Isle of Seduction, rated: Adult)