Guest lecture with artist Kevin Gallagher
Wednesday 21st October 2020, Willow Fisher
American artist Kevin Gallagher hosted today’s guest lecture introducing his artwork ranging from early exhibitions to the latest. He is originally from Chicago and studied at an art institute there. His artistic direction works primarily with sculpting, he stated that he recognises sculpting as a tool to orchestrate 3D space. A variety of materials is used by Gallagher, which he regards as being components of high importance to the visualisation of his artwork. He also informed us that he strongly values the context in which the work is presented, in order to really inform the viewer of its significance.
Gallagher enlightened us to his first acknowledgements and interest of 3D work by telling us at the age of sixteen he visited the Museum of Contemporary Art Chicago, and felt attracted to a particular piece of installation work. The piece consisted of various mediums devouring the space in which it was displayed. He felt that the artwork allowed him to recognise it as an astonishing physical space, he remembered that he felt completely immersed within the work. Terms he used to describe the piece were that of being incredible and a disorientating piece of installation art. For him it was quite an immersive experience that ended up inspiring him for his later artistic trajectory in his adult life. The artist of this work is Thomas Hirschorn.
The practice of building spaces embedded into an environment has appealed to Gallagher's interests, taking him much further into this practice. In doing this and formatting the work in this particular way he believes that the viewer can really actively experience the work. He was involved in an exhibition in 2017, Offspring, De Ateliers. The space in which he was accompanied with was big and bright really enabling him to create his visual sculptures suited to him. His first piece was a sculptor called the Pollinator, and two paintings called Drowsy and Lightheaded. The Pollinator was a sculptor installed with fans and buckets of flowers. The two canvases were then placed on either side on the fans, so that when the fans were switched on the maturing plants pollen would be transferred through the fan to the blank canvases. The canvas would then capture the pollen expression. The two paintings Drowsy and Lightheaded were named from the side effects of allergies. The canvases were quite large in size creating an unusual sense of depth within them. Synthetic pollen was also used alongside the natural pollen from the flowers. This led to the pollen partially being pigmented when appearing on the canvas, therefore creating a pigmented expression.
The artwork I would say challenges the standards of sculpting because it's not only visually pleasing and a piece of art, it also performs an instruction. So not only has Kevin created this installation piece that is contemporary, he's also enabling the viewers to actively engage with it as the sculpture itself is engaging with the canvases. I say it's interactive because the materials embedded into the sculpted piece are active too. The flowers are alive and their documentation of life is displayed to the viewer as it deteriorates in form, including this decrease in life into the artwork. The canvases beside the work are capturing the flower's expression, as the plant is excluding its pollen as it dies. He frequently replaced the deceased plants with fresh ones. The fact that this is being documented as it's happening I regard as being really significant and interesting. What also appeals to me from the piece is the gestural impression of man made and natural substances juxtaposing each other. Gallagher has interfered with the life cycle of this bundle of plants, bringing with the influence of this industrial life that we all experience. This is seen with the fans accompanying the plants. Under normal circumstances the pollen from the flowers would flow freely and spontaneously following its natural course. However here he has interfered and almost taken control of the natural substance, himself directing where the pollen goes and therefore creating a painting on the two canvases. Everything is proceeding in the sculptor because Kevin wants it to happen, it's all following a plan that he himself has designed.
I think it would have been interesting to take a more suggestive approach to this piece, perhaps arranging more canvases around the pollinator so that the destination of the pollen is less controlled and more sporadic following a more natural flow. Another contribution of man made interference is the introduction of synthetic pollen. The presence of the natural and synthetic pollen I think speaks for itself and reinforces quite a metaphorical message of the everlasting challenges between man made and natural selection. I think it's odd that Gallagher would almost burden the documentation of the plant by inputting pollen of his own, I think personally that this throws the piece as a whole off course. However I do admire the way in which the installation piece performs creating a visual recording of the plant's expression. I just think that the artist could have executed the piece a bit differently and had less interference with the development of it because I and maybe some other would have liked to have been engaged with the natural expression of the artwork. Gallagher created a second Pollinator and this time left the flowers there whilst they were decaying, therefore reinstating the themes of time and decomposition as well as exploiting the plant's morality.
Another series of sculpture work that Gallagher created was called “Gel”. He created large tube like sculptors which consisted of soft gel surfaces. The primary ingredient for these pieces was gelatin. The artist found that the consistency of ballistic gelatin is similar to that of a haribo sweet or human flesh. Gallagher informed us that he didn't use natural materials of gelatin, he created his own. To shape the structures he poured the solution into a cardboard mould in layers, then when it had solidified in form he peeled away the moulds to reveal the gelatin sculptures. The context in which the sculptors were designated ranged with a sense of spontaneity. Some lay on the floor, while others leaned upon the gallery walls. Kevin included within the structure a metal wire in order to keep its form intact, it was placed inside the gel so that the substance did not crack under the weight of the sculptor as it bends. We were enlightened to learn that Gallagher believes that this series of sculptors are for him surrogates to the human bodies, he stated to us that at quick glances the works look like they are individuals sleeping or slumped over within the gallery.
I really admire the simplicity of the concept, how it was portrayed at the end and the context in which it was portrayed really brings the series together. I think what I value the most is that Gallagher went out of his way to create his own gelatin, this I believe really connects him as an artist to his artwork and introduces to the viewers of the work the relationship between him and what he’s created. Him creating his own gelatin in a way is informing us of his deeper knowledge and understanding of the concept. I am also really interested in the spontaneous nature in which the gelatin tube sculptures turn out. Once the substance is poured into the mould to set you next see it when it's solidified, the real creation starts when the gel begins to set within the mould. Reinforcing that mystery and enigmatic turn out of it when it is finally revealed. Even Gallagher couldn't predict what they were to appear like, so I really like that they are all different and that he left it to pure chance and fate for the sculptures to create their own appearance. It's almost as if the sculptures are individually creating their own identities. I believe this separates it from the previous work because this series of sculptures is enforcing a more relaxed approach. Kevin is not as prominently involved with the appearance and has less control, leaving it to form naturally without interference from him, which I find really beautiful. The making process of the sculptures Gallagher described as being very enjoyable for him because their outcomes were unpredictable. He provided us with the information that the tubes varied from each other, some for example had their pigments of colour that smoothly blended together, whilst others abruptly changed in their vibrant colours.
The appreciation from his tutors Gallagher described as being negatives as he stated that they often discouraged his work and the process in which they were created, referencing his materials in his sculptures and his approaches. Additional works that the artist has exhibited have been creating uniquely proportioned tent sculptures. Kevin would fit the fold able tents with air conditioning so that when the machinery was active this would cause the tents to contract. Visually depicting to the viewer that the surfaces get sucked in by the air conditioning. The tents then inflate and deflate, contracting and expanding the space in which they are providing in the exhibition.
I really find this series of work interesting because Gallagher is using ready made objects like the tent and air conditioning to create his sculptures. This simple yet complex combination led to various tent contortions within the gallery. What appeals to me the most is the manipulation of the structure, because the tents properties and materials are so vulnerable they allow themselves to be forcefully exploited by the machinery. I like the complexity of the redesigned structures, they appear violent and aggressive because of the force they have encountered with the air conditioning. Therefore completely re imagining our ideas and perceptions of such objects. There's a prominent theme of manipulation present in this series of sculptures.
The next exhibition he had was in Fluent, Santander in 2017, it was called “Care and Rearing”. It took place in a former tenant building which brought with it a sense of domesticity because his work was to be presented in a domestic building. This had relevance because the materials he used for this work I would consider as being domestic.. Gallagher stated that there were two elements to this show, the first a reading which was then followed by the second part the sculptural exhibition. The reading was conducted with the lights off leaving the audience in complete darkness which led to the experience to be more immersive than it would be under the more conventional circumstances.
The sculptures like the previous were made from ready made objects, transparent boxes that were filled with pickled solution. Inside the solution were carrots, that each had faces carved into them. The boxes were then stacked on top of each other enabling the viewer to experience a lot more of the show. The transparency allows you to look at the work from varied perspectives which I like. As well as the carrots portrayed with faces, they were given arms and legs out of sticks, personifying them. I think by doing this Gallagher was re identifying them and giving them their own individuality, for example all faces are different, none of the carrots are exact replicas of each other. The carrots now defined bodies were left to float in the pickled solution, some left to stare at their own reflection. For Kevin the structures made from the composition of the transparent boxes resembled tower block buildings, again bringing in that sense of domesticity. The sculptures required specific conditions for survival (the carrots in the solution) so in a way this could be interpreted to mimicking our own environment.
Unlike Kevin Gallagher’s previous work I don't find myself fond of this sculpture series. I find that it's difficult to recognise it as a meaningful sculpted piece, I don't really understand the context behind it or even its purpose at all. It may be that it's a conceptual piece of art and that I'm not looking at it with an open mind but I just don't find it that interesting. I think for me that it's lacking some artistic input, with Gallagher's previous work I found myself drawn to their creativity and spontaneity but for this piece I just find it really unflattering and tedious. I don't find this series engaging and feel as though I'm unable to relate it to any of my own practice or art interests. I’m not really that keen on really extreme conceptual artwork so this unfortunately I do not like.
In the next room the audiences were offered an insight to the creative process behind the work. Presented in their natural un-staged format were the supplies for the production of the sculptures. Like all the ingredients for the pickled solution, and the naive mess from the carving of the carrots. Also evident in the room was extra supplies, because Gallagher ended up buying too much. He described the scene of the room as looking familiar to a battery supply for the sculptor, linking back to his strong valuing of context accompanying the artwork. This room situated with the display room I think is a necessity in order for the audience to fully immerse themselves with the exhibition. Not only are they experiencing the sculptures in their designated space, but they are also experiencing the context in which it was all built from. It's a raw experience providing everyone to have a real insight to what happens during the process. I would describe this as being quite an interactive and warm experience. Therefore I believe the display room and creating room are just as important as each other and both deserve to be a part of the exhibition. If anything I personally find the room where the creative process occurred to be more interesting than the exhibition itself.
The next exhibition took place in 2019 in Lesage, Brussels and was called “Inspections from Above”. His most recent exhibition was in Brussels and took place this year (2020), it was called “Figuration”. Displayed in this exhibition was a wide range of Gallagher's work really providing the audiences a broader insight to what the artist is capable of, and his varying artistic trajectories. It presented print’s, sculptures and conceptual pieces.
On the wall as the public first entered the gallery was a tiny framed silver gelatin print. Its unprecedented size and portrayal I would say really draws the viewer in as it is the first piece of his artwork they are greeted with, and frankly creates an impression for the show as a whole. I believe Gallagher took a great deal of time to think about the composition of his work regarding the layout of it in the gallery. The print had been partially digested in stomach acid which Kevin produced himself, furthermore emphasising the artists relationship with his work. The print was submerged in the damaging substance that led to the print appearing degraded. Again evident in the artists work here is the theme of time and decomposition, in this artwork in particular the decomposition of the quality of the imagery in the print. The manipulation of the print enabled Gallagher to build a new story with the visuals in his own way creating a physical explanation for the enigmatic print, breaking it down. The artist has implied that the image is a representation of psychosis. Due to this he has managed to create a new context for the work that suits its creative process and its appearance in the show, as well as subtly visually depicting the feeling of psychosis, I find it quite daunting and real.
Gallagher returned to the carrot in this exhibition. He created the vegetable out of epoxy clay and painted it with acrylics which he acknowledged as being a sophisticated process, personifying the matter further. Epoxy clay is known to be a fast drying medium so once dried and painted he humanised it even more by also making arms and legs from the clay. The reason why Gallagher is so intrigued with the carrot is because in the Netherlands, which he moved to in his life, the royal colour was orange. He informed us that the Dutch gardeners cultivated carrots in order for them to become orange. Carrots exist naturally in a range of colours which I did not know. However the Dutch favoured the colour orange to enable them to honour the royal Dutch colour, they bred them to be the colour. The artist has reinforced the symbolism of the colour and subject matter as well as placing it into context which allows the piece to be interpreted more and understood. Again linking back to Gallagher's strong feelings about context within artwork. Introduced to this show was another vegetable, a corn, he also personified the corn going through the same process he did with the carrot. Almost reincarnating it out of clay and humouring it. The context behind why he introduced corn to the work was because corn is traditionally American. Gallagher was born in Chicago and moved to Brussels, so it's interesting that he is linking his own experiences with culture that he has lived amongst into his artwork. Corn I think is more significant than the carrot in terms of its various purposes, for example it can be a substance for food, animal feed and even sweet substances. So Kevin in his own way is implying the concept of its in us and we’re in it.
Another series of work that was positioned alongside the clay figures were pieces called “Beacons”, each beacon consisted of a lampshade and a sleeping bag. Gallagher revealed to us that all materials used for the creation of these works were all second hand, thrift from charity or retrieved from the flea-market in the town centre of Brussels. His reasoning for using these materials was they simply had had a life. I really find myself drawn to this because I favour buying items that are second hand because of the same concept. They’ve been used and have been a part of someone's life, and I find that more interesting than buying a mass produced item from a high end business that has no context or personality behind it whatsoever. So this aspect of materials used for this artwork appeals to me, suggesting elements of configuration within the sculptures. Kevin informed us that for this work he researched the term figuration in order to get varying perspectives of the meaning, him and a lot of us have that basic and conventional understanding of associating figuration with traditional paintings or drawings that depict the human form. Gallagher wanted to challenge this and approach it from a more contemporary perspective.
I interpret the artwork Beacon as a symbol of our understanding of home. My knowledge of a beacon is that it is a light that guides the way to safety, and this combined with used sleeping bags makes me think that Gallagher is visualising a beacon of safety. It's like an interpretation of what some would consider a home, it has that domestic context to it, which I find admiral.