Eden

Created for the group exhibition Hammer, Anvil, Stirrup at the Henry Moore Institute, the work Eden, responds to and reflects upon what Le Ruez interprets as the almost sacred environment of the research library, a series of rooms filled solely with books on sculpture and installation. A complex hand blown glass form is suspended within a window at the end of a corridor, it evokes both a bodily organ and through its positioning, a strange kind of forbidden fruit. The means of suspension, brightly coloured woollen thread, runs along the ceiling of the corridor into one of the main rooms of the library, dropping down and coming to rest in a bundle on one of the shelfs within the British Sculptors’ section, however not before it has passed through a book on the work of Douglas Gordon. Also on this shelf, mounted on a piece of fluorescent Perspex, sits an appropriated photograph of a tree outside the library, a tree which is visible from an adjacent nearby window. Within this window, a further sheet of fluorescent coloured Perspex fills one of the glass panes and another appropriated photograph, this time featuring a view from an unknown window sits within another pane. On the window sill is positioned a curious triangular orange form, upon which brass rods and strips of coloured Perspex are balanced. It appears to make reference to the architecture and world beyond, a hidden noise, yet through its intimate scale and sense of containment it appears sensitive to the quiet reflectiveness of this unique interior world.

Eden, playfully comments on and celebrates the library setting and simultaneously serves to question our relationship with the immediate and nearby spaces we inhabit, evoking in return the momentum of feeling these spaces can have upon us.

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