How many times do you pick up an item that has a beautiful, glistening, enticing LCD screen a day? I, personally, am not sure I’d like to know that answer. In our ‘selfie’ contemporary, where that word belongs in the dictionary, Laura Sillars and Angelica Sule have collated one heck of a collection that attacks our fetish with these devices. Artist Anna Barham has produced Crystal Fabric Field, a bracket which holds together the layout of the exhibition, providing a structure just as important as its contents. The wall organisation mimics what a crystal DNA looks like, an imitating algorithm of itself, but in MDF and polycarbonate sheets. Anna’s work literally holds the entire exhibition together in all it’s yellow magnificence. When entering, it seems like a maze but each nook and cranny holds as much importance as the next.

Sillars and Sule have collected a variant of 19 different artists to portray how LCD and crystals affect us all differently. Three of the most striking pieces are Ann Lislgaard’s Crystal World (after J.G. Ballard) – a 3D animation of Ballard’s story of a crystalline world; Shimabuku’s Oldest and Newest Tools of Human Beings – a very literal and self-explanatory comparison of prehistoric tools and ours; and Lise Autogena & Joshua Portway’s Kuannersuit; Kvanefield – a documentary of indigenous Greenland’s community being catastrophically disrupted over Uranium mining.

Although those pieces were particularly awakening, the entire collection is really fantastically done and entices you into reassessing your personal relationship with your best friend, your smartphone. The exhibition does not contain many descriptions of the piece throughout, so it’s highly recommended to purchase the accompanying guide to really get the most, and it’s got a lot to give, out of this exhibition.

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