This exhibition explored the separation of the body and soul, tracing the edges of our conciousness. The exhibition was dedicated to an entire floor, with a number of rooms to guide you through the truth revealing exhibition. This was a group show, yet it had been set up logically to guide our line of understanding, initially you begun in a room explaining the science behind our conscious and subconscious minds, moving on to artworks describing certain experiences triggered by our different minds, such as sleep paralysis. Finally, we would enter a space, called ‘Time Present’ by Shona Ilingsworth. This work combines research into memory and the conscious mind with publicly engaged practice. As the final piece of the show, it fully submerges you into the show; large projections and low sounds bounced and echoed off the walls, with almost a hypnotic drive. Illingsworth is a site specific artist, meaning she creates her pieces in relation to the exhibition space within the actual gallery.


Not Vital created an indoor exhibition, ranging from sculptures made from plaster, silver, gold, marble, glass and coal, and outdoor sculptures in stainless steel and bronze. He created a group of monochrome portraits, one of them created specifically for the gallery and measuring 12 metres long. These were accompanied by large ceramic glazed head sculptures that mesmerically absorb and reflect light.  These monochrome heads create imaginative spaces, as they deform and transform their surroundings, creating a physical representation of how our subconcious can transform objects in the mind. His work often reference nature and anthropomorphism, a relationship to the surreal, as the effect of reflection made creates almost a subconcious and surreal landscape/space.




Adlington’s exhibition exposed the upsetting truth about wildlife in the present day; there are less than 200 Arabian Leopards left in the wild, and Adlington created a watercolour series from trips to Sharjah and Oman over 4 years. He paints al fresco, so he is literally capturing the exact detail from that time, highlighting the preciousness of that single moment. These paintings were then hung all around the exhibition space. The space though was curated thematically, as when you walk in, multiple and small quick watercolour paintings were hung up as if they were a sequence. Then gradually throughout the next room, the pieces grew larger and these leopards were almost life-sized portraits. The curation allowed the effect of feeling almost surrounded and immersed with the leopards, as it is almost as if they were all gathered around, with their faces glaring out, making a confrontation of our wildlife issues.


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