A cornerstone of our identities, memory is an inexhaustible departure point for artists. Art can encapsulate the essence of fleeting moments and transform the ephemeral nature of memory into a tangible and enduring form that enables us to contemplate the past, present, and future. The works in this exhibition by Donald Baechler, Ross Bleckner, Lyle Ashton Harris, Joshua Hagler, Jenny Holzer, Sherrie Levine, Hiroshi Sugimoto, Kasper Sonne, Hank Willis Thomas, Kaari Upson, and Sue Williams collectively serve as a memory bank, chronicling the moments of each artist’s environments and experiences that shaped their narratives.
Jenny Holzer is renowned for her text-based installations which transform words into powerful visual experiences. Using poetic language and aphorisms, she creates a space for dialogue, fostering a collective understanding of the past and its implications for the present. Lyle Ashton Harris explores the intersectionality of memory, identity, and cultural heritage. His works are visual diaries that capture personal and collective memories of navigating the complexities of race, gender, and sexuality. Harris's art preserves narratives that might otherwise be overlooked or marginalised, emphasising the importance of inclusivity within the tapestry of memory. Hiroshi Sugimoto’s photographic practice is directly linked to memory and the passage of time. His unique method of long-exposure photography, which often documents various historical places, provides insight into how the medium can obscure and alter reality, resulting in a cinematic quality.
Sue Williams employs bold and expressive visual language to delve into the intricacies of personal and cultural memory. Her paintings––often characterised by subversive themes and provocative imagery––serve as a mirror reflecting the turbulence of the female experience, urging viewers to reconsider their memories and question the stories embedded within societal frameworks. Hank Willis Thomas investigates memory within the context of mass media and cultural representation. Through familiar symbols and images, Thomas challenges the viewer to interrogate the collective memory shaped by visual culture. By deconstructing and reconstructing these symbols, he prompts us to reconsider the narratives that shape our understanding of history. In the manner of the early 20th century Dadaists, Sherrie Levine's work challenges the notions of authenticity through the reappropriation of photography and objects whilst reimagining their ephemeral nature as a whole.
Ross Bleckner’s paintings are poetic reflections on the fragility and transient nature of time. His works meditate on the passage of moments, largely instigated by the AIDS crisis in the 1980s, emphasising the preservation of memories before they fade. Kasper Sonne’s recent works reflect his attachment to physical places. Comprised of different images from the artist’s archive, Sonne merges places into a single canvas, creating environments where memory is experienced on a visceral level. Kaari Upson's nuanced exploration of mattresses is a profound meditation on the imprints left by human existence—both literal and metaphorical. Coming from the ‘Larry Project’ series, Upson delves into the fictional life of a character using mattresses as a central motif to explore the complex interplay between personal history, psychological landscapes, and the tangible artefacts of domestic spaces.
