Paris can stay in bed

2019

Solo exhibition at Vane Gallery, Newcastle upon Tyne, UK

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A body of work which explores interests in territory, transparency, fragility and transition.

The title of the exhibition is taken from a line in Leo Carax’s 1991 film, Les Amants du Pont-Neuf (The Lovers on the Bridge). With grim radiance, the film charts the story of two fractured individuals discovering each other on Paris’ oldest bridge, upon which themes of abandonment, freedom, desire and redemption are played out with the city as a backdrop. Aligning with these multifaceted and fragmented themes, potent relationships are key to the experience of these works and whilst they may be explored through form, material and structure, a deeper, more complex introspection permanently resides. The work strives to take the viewer on a celebratory journey full of twists and tangents, crossings and meeting points, conjuring both the immediacy of the here and now and the sense that elsewhere is never far away.

We need to laugh before midnight

We need to laugh before midnight, 2019

Hand blown glass, woollen blanket, moulded rubber and plastic
Dimensions variable

Photo credit: Colin Davison

Between Brooklyn and the Bronx

Between Brooklyn and the Bronx, 2019

Hand blown glass, wood, cement, steel, acrylic and household paint, mixed media
Dimensions variable

Photo credit: Colin Davison

Between Brooklyn and the Bronx (Detail)

Between Brooklyn and the Bronx (Detail), 2019

Photo credit: Colin Davison

Between Brooklyn and the Bronx (Detail)

Between Brooklyn and the Bronx (Detail), 2019

Photo credit: Colin Davison

Paris can stay in bed (Installation detail)

Paris can stay in bed (Installation detail), 2019

Photo credit: Colin Davison

Between Brooklyn and the Bronx (Detail)

Between Brooklyn and the Bronx (Detail), 2019

Photo credit: Colin Davison

Paris can stay in bed (Installation view)

Paris can stay in bed (Installation view), 2019

Photo credit: Colin Davison

L’amour l’après-midi

L’amour l’après-midi, 2019

Hand blown glass, wood, steel, cement, moulded plastic, enamel and acrylic paint
Dimensions variable

Photo credit: Colin Davison

L’amour l’après-midi

L’amour l’après-midi, 2019

Photo credit: Colin Davison

L’amour l’après-midi

L’amour l’après-midi, 2019

Photo credit: Colin Davison

Alice

Alice, 2019

Hand blown glass, cement, silver card, steel, Cromático paper, cellophane, tape, thread
58 x 25 x 26cm

Photo credit: Colin Davison

Paris can stay in bed (Installation view)

Paris can stay in bed (Installation view), 2019

Photo credit: Colin Davison

High Holy Days

High Holy Days, 2019

Hand blown glass, ceramic, steel, enamel paint, filter foam
129 x 59 x 59cm

Photo credit: Colin Davison

High Holy Days (Detail)

High Holy Days (Detail), 2019

Photo credit: Colin Davison

Paris can stay in bed (Installation view)

Paris can stay in bed (Installation view), 2019

Photo credit: Colin Davison

Between Brooklyn and the Bronx (Detail)

Between Brooklyn and the Bronx (Detail), 2019

Photo credit: Colin Davison

The Monk

The Monk, 2019

Hand blown glass, wood, moulded plastic, cellophane, enamel, acrylic and household paint, thread, tape, pompoms
Dimensions variable

Photo credit: Colin Davison

The Monk (Detail)

The Monk (Detail), 2019

Photo credit: Colin Davison

Roberto

Roberto, 2019

Foam, acrylic paint, pins

Photo credit: Colin Davison

Paris can stay in bed (Installation view)

Paris can stay in bed (Installation view), 2019

Photo credit: Colin Davison

Vacation #4

Vacation #4, 2019

Cromático paper, adhesive, felt pen, silver and gold pen, micro beads, coloured netting on heavyweight paper
42 x 30cm