Liam Fallon 'Aftermath II' (2021)
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Artist: Liam Fallon
Title: Aftermath II
Size: 60cm x 5cm x 2cm / 23.4in x 1.7in x 0.8in
Material: Jesmonite, Steel, pigment
Edition: Open Edition
Note: Arrows are only sold as a pair
Signed / Dated: No
Note: Comes with Copy Of Authenticity
Delivery: Will have shipping invoiced separately.
About the artist: In his practice, Fallon explores the diverse landscape of queer culture through the use and manipulation of objects and materials. The binary of private versus public marks a particular point of interest; examining the ways in which spaces are utilised and fetishized in order to explore the sentimental values of love, desire and loss, occurrences that are at once unfolding in the public realm, whilst at the same time remaining an enigmatically private affair.
At first glance, the sculptural works seem reminiscent of things and places encountered before, but there is a false façade at play and quickly, the reality of each work begins to unfold and theatrically perform. It is these theatrical and performative elements, inspired heavily by Jean Genets literature and film, which change the work from something static to something with movement, weight and dependency. Broken walls are being laced up; others are unzipping to reveal a little more than they bargained for whilst hydrants become functionless and sculptures grow socks, crawling for the exit. Here, the mundane and previously encountered have been revalued and exalted and their previous function as markers of space, defining our boundaries, is something of the distant past and instead look towards the future.
Fallon’s aim here is to litter an envisioned landscape with coded and sculptural objects, monuments of queerness which typically act and communicate under the guise of secrecy. In this new landscape, they would no longer be hindered by discretion but instead, bombastically exist to scream loud of the presence, intention, and purpose.
About the print: The reoccurring motif of the brick wall in my practice can be traced back to the French Novelist Jean Genet and his 1950 silent film, Un Chant D’amour. In the film, we are presented with 2 male protagonists who happen to be imprisoned in cells next to one another. Between the cell wall is a small hole and this tiny hole becomes fetishized and becomes a mode of communication between the 2, blowing cigarette smoke backwards and forwards. As the film unfolds, we start to realise that the prisoners are in fact in a relationship yet never actually physically see one another or touch one another and their only physical encounters tend to take place whilst they dream late at night.
This physical barrier between the two becomes a marker of space architecturally, but also a marker between the idea surrounding privacy and public and things which happen to unfold either side. I learned about the word Cathexis a few years ago, which means the concentration of mental energy on one particular person, idea or object. In relation to this ongoing series of jesmonite cast wall sculptures, it seemed particularly fitting. Each one of these works unfolds to reveal an entry point into the next one, endlessly shape-shifting.
We come into contact with hundreds of objects per day, so much so that we become numb or ignorant to the acts that they witness and through the process of remaking them and representing them through varying materials, our focus is readjusted to what it is that they actually bare witness to- sentimental acts of love, loss, desire. All are occurrences that are at once unfolding in the public realm, whilst at the same time remaining an enigmatically private affair.
- BA Fine Art Manchester University
Solo Tuesday to Friday, Valencia, Spain
- Henry Moore Artist Award (Winner)
Richard Heller Gallery, Los Angeles, USA
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