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A tear in the paper sky
The most striking feature of the world right now is that most of its inhabitants seem cut off from the future. Yet, life seems to hold little meaning unless it can project itself forward—ripen, progress, and take root. To live against a wall like that is to live a dog’s life.1
Angharad Williams seems to be channeling Albert Camus in her elusive Solo Performance, which stretches across the gallery as an unprocessed 35mm film roll, backlit and silent. In its naked celluloid state, the work presents a close-up of the artist herself, speaking something unsayable. Yet, because of the medium and the artist’s intent, the words remain out of reach. We cannot hear her. We weren’t there. What remains is a residue—a trace of a performance that exists as a visual enigma.
Something unspoken also pulls at the image Williams chose as her title, “The Bottom Dogs II”: dogs at the bottom of a well,...More
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Press Release
A tear in the paper sky
The most striking feature of the world right now is that most of its inhabitants seem cut off from the future. Yet, life seems to hold little meaning unless it can project itself forward—ripen, progress, and take root. To live against a wall like that is to live a dog’s life.1
Angharad Williams seems to be channeling Albert Camus in her elusive Solo Performance, which stretches across the gallery as an unprocessed 35mm film roll, backlit and silent. In its naked celluloid state, the work presents a close-up of the artist herself, speaking something unsayable. Yet, because of the medium and the artist’s intent, the words remain out of reach. We cannot hear her. We weren’t there. What remains is a residue—a trace of a performance that exists as a visual enigma.
Something unspoken also pulls at the image Williams chose as her title, “The Bottom Dogs II”: dogs at the bottom of a well,...More
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More Exhibitions at Simian
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