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installation view, a rant! a reel!, Cubitt Gallery, London
Untitled (re/de/composition 2), 125 x 74cm, 2021-
Robert S. Duncanson, Dog’s Head of Scotland (1870, oil on canvas, Museum of Fine Arts, Boston) reproduction on Fine Art Museum Archival Paper, acrylic tray, handframed in oak and submerged in rum, whiskey and water.
Duration - 3 weeks
Robert S. Duncanson, Dog’s Head of Scotland (1870, oil on canvas, Museum of Fine Arts, Boston) reproduction on Fine Art Museum Archival Paper, acrylic tray, handframed in oak and submerged in rum, whiskey and water.
Duration - 3 weeks
installation details, Untitled (re/de/compositions 1 - 4), 2021-
Duration - 4 weeks
installation view, Untitled (green gene, 1785, 2001, 2021), 2021 and Untitled (Pierced Text) 2021
detail, Untitled (green gene, 1785, 2001, 2021), vinyl, mdf, rope, 300x150cm 2021.
Source: Group portrait of Sir John Taylor, 1st Baronet(1745-1786), his wife Elizabeth (d. 1821), and four of their six children; Sir Simon Richard Brissett, 2nd Bt. (1783-1815), Anna Susanna (1781-1853), Elizabeth (b. 1782) and Maria (1784-1829); also his elder brother the wealthy Jamaica sugar planter Simon Taylor (1740-1813) (seated). (pencil, pastel and bodycolour, 104 x 81.4 cm).Wiki Commons/Public Domain.
Source: Group portrait of Sir John Taylor, 1st Baronet(1745-1786), his wife Elizabeth (d. 1821), and four of their six children; Sir Simon Richard Brissett, 2nd Bt. (1783-1815), Anna Susanna (1781-1853), Elizabeth (b. 1782) and Maria (1784-1829); also his elder brother the wealthy Jamaica sugar planter Simon Taylor (1740-1813) (seated). (pencil, pastel and bodycolour, 104 x 81.4 cm).Wiki Commons/Public Domain.
Untitled (Pierced Text), Book, Nail, 2021
installation view, a rant! a reel!, Cubitt Gallery, London
Left to right: interest document, ink on paper, 21 x2 9cm, 2019-21; lost class, transfer print, 15 x 21cm, 2021; lost class (2) transfer print, 21 x 29cm, 2021.
Untitled (hysterical image #4), 2021, 35mm E6 Film
Slide film reproduction of 4k video still.
Source: Camara Taylor, ‘performance experiments, 1913’ whilst in residence at the National Theatre of Scotland.
Source: Camara Taylor, ‘performance experiments, 1913’ whilst in residence at the National Theatre of Scotland.
noodles who rave for abolition, engraved polished brass zippo lighter, 2020, 2021
Cigarette Card, No.41 THE DARIEN SCHEME Scotland’s Story REPRINT
Stephen Mitchell 1929 Mitchell’s Cigarettes “Scotland’s Story”
(series of 50 issued in 1929) #41
Untitled (hysterical image #14 & 15 aka blue line diptych),
2021, 38x25cm Foam mounted Kodak Mettalic Prints,
Image Source: Borderline, 1930, POOL GROUP/Kenneth Macpherson.
Image Source: Borderline, 1930, POOL GROUP/Kenneth Macpherson.
Untitled (re/de/composition 3), 125 x 74cm, 2021
Robert S. Duncanson, Ellen’s Isle, Loch Katrine (1871, oil on canvas, Detroit Insitute of Arts.) reproduction on Fine Art Museum Archival Paper, handframed in oak and submerged in rum, whiskey and water. Duration - 8 months
Robert S. Duncanson, Ellen’s Isle, Loch Katrine (1871, oil on canvas, Detroit Insitute of Arts.) reproduction on Fine Art Museum Archival Paper, handframed in oak and submerged in rum, whiskey and water. Duration - 8 months
Untitled (re/de/compositions 2 - 4), 2021- ongoing | recompositions in the studio awaiting reframing post exhibition. Duration - 12months
wants after june, paper, black acetate, brass pins, 42 x 55cm, 2021
Untitled (hysterical image #10), 35mm E6 Film Slide film, 2021.
Untitled (hysterical image #10), 35mm E6 Film Slide film.
Original Image Source: A Family Called Abrew, Maureen Blackwood, 1992.
Untitled (hysterical image #10), 35mm E6 Film Slide film.
a rant: to romp, roister, a shout, lively tune or dance, gathering or
great noise.
a reel, as in ‘a word that means both a dance and a preparation for a fall’.
The exhibition stemmed from the ongoing research project of the same name that uses ‘silt’ and the process of ‘desilting’ as both metaphor and methodology to examine Scotland’s intimate entanglement and key roles in the development of the current global order. Negotiating flimsy cultural memories, illegible archives and Black gestures, the exhibition acts as a repository for Taylor’s current Transfixions (after Shola von Reinhold) as they work towards a film currently situated in the gut.
Curated by Languid Hands as part of No Real Closure, their curatorial fellwoship at Cubitt, London.
Photos by Vanessa Peterson
a reel, as in ‘a word that means both a dance and a preparation for a fall’.
The exhibition stemmed from the ongoing research project of the same name that uses ‘silt’ and the process of ‘desilting’ as both metaphor and methodology to examine Scotland’s intimate entanglement and key roles in the development of the current global order. Negotiating flimsy cultural memories, illegible archives and Black gestures, the exhibition acts as a repository for Taylor’s current Transfixions (after Shola von Reinhold) as they work towards a film currently situated in the gut.
Curated by Languid Hands as part of No Real Closure, their curatorial fellwoship at Cubitt, London.
Photos by Vanessa Peterson