Andy Hope 1930

air tsu dni oui sélavy

20 March - 9 May 2009


Andy Hope’s art constructs a shadow universe that is populated by phantoms and superheroes and is full of preternatural occurrences. Time is out of wrack, bendable: home to a history that never happened. Visitors to air tsu dni oui sélavy encounter a tableau that mixes the real with the fantastical. Second-hand chairs and a table, carpets and a figure scaling an upside-down staircase act like cryptic clues, props in a stage set that announce the artificiality of the setting whilst furnishing evidence of its lived existence. Yellow retro wallpaper marches across half of the gallery, the backdrop to an ensemble of homemade Malevich images, aged personal snapshots and new paintings and drawings by the artist, which punctuate and add a further layer to the fiction spun by the installation. Details of the montage include a large photograph of a window, its frame a dark cross against the light, and a photograph showing the ghost of a grandfather clock, silhouetted in negative against grimy walls. The image is a still from ‘Return to Glennascaul’ (Hilton Edwards, 1951), a ghost story in which Orson Welles, playing himself whilst taking a break from the filming of ‘Othello’, becomes embroiled in time travel. This game of negatives intensifies with the Malevich pictures whose famous geometric shapes have been sliced out through the wallpaper to reveal the gallery wall. Cutting through layers of artifice, these doctored Maleviches are white on white, as though what the Russian Supremacist declared to be inventions from the future can now no longer be seen.

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