Paradise Works (2019)

This series of work uses the white wall gallery as both the subject for the photographs and the site of presentation. 


White gave modern architecture a decisive identity “carefully protected and preserved by multiple institutions” (Wigley, 1995: xv) including the gallery, and yet little critical attention has been given to the whiteness of its walls. While artists are always re-conceptualising the gallery, the white-cube gallery remains one of the most dominant models for viewing and displaying artworks. My view of the white-cube gallery, is in contrast to the modernist gallery ideology that “the work is isolated from everything that would distract it from its own evaluation of itself” (O'Doherty and McEvilley, 1986). Re-photographed in the gallery, the photographs and the wall space are positioned in relation to one another, informed by one another. The gallery space is not only a container, but an extension of the work. 

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