THE IMMACULATE DREAM REVIEWED BY DAVID MINTON on a-n: 

Hybrids, historical references, installation, intervention, film stills, headless handless courtiers,  the universe, still waters, ornament and appropriation, grids, stains, magic, prettiness, forests…. ship creek, gloaming, trump, silicon valley, marquees, and plant parts, spaceships and a robot….cryptic notes and more…

Sasha Bowles. Theatre of Absurdity.

Sasha Bowles. Theatre of Absurdity.

‘The Immaculate Dream’,

“47 works by 19 artists in a series of 5 meeting rooms and 2 public spaces is, in the eclectic manner of our times, a conference of styles, techniques, genre, materials and something of the multicultural curated by Rosalind Davis. Its varied  media and execution  highlights the material matter and manner of making something and what the something might mean, form as felt content in itself – how technique ‘appears’, style is manner refined into taste, and taste is judgement in action; there are aesthetic positions  at work, individually  and  curatorially, speaking to a wider social context.....

Curatorial concerns, feminist issues , global warming, false news, possible truths, emerge from the stuff with which their messages are made. Nothing is inert, materials are repositories of possibility  –  content is content is content. Matter and stuff speak the work, speak with the voices, accents, tones of their media, of the possibilities of paint, digital processes, and so on, medium as message in itself, something to ‘be’ with. There is a slippery sense of the ways  we are, of the way in which our current social and personal insecurities  arise in the everyday, that sense that our uncertainties and  fears are  rising like a flood around an unknowing  marquee, quietly in the dusk, that Donald Trump’s  busily getting on with things might have consequences for Alfriston.”
Read the full review here.