WW Gallery - February 2013
WW GALLERY has two exhibitions lined up for its Hatton Garden venue in February 2013.
JAY GUN, The Most Dangerous Man on the Planet, the first UK solo show by Swiss artist, Jay Rechsteiner – February 6 to March 2.
This is an exhibition which ridicules the absurdity of gun-toting machismo. A collection of home-made guns and ‘other gun-related stuff’ satirically takes its cue from American gun culture and weapon infomercials.
JAY GUN, The Most Dangerous Man on the Planet dramatises the blur between fantasy and reality, child’s play and fatal consequences. As Rechsteiner states, “Guns have always held a great fascination, especially for boys. They equip you with the perceived power and invincibility that transforms you into a hero, a cowboy, the saviour of the world!”
Hello Friend, the debut solo exhibition of new work by Siobhan Barr – February 6 to March 2.
Developing upon previous works, which jovially explored the impact of modern telecommunications on our evolving language, Siobhan Barr’s new body of work brings together darker themes of loneliness and internet use, with a strong focus on the concept of Internet Abuse.
Hello Friend is a collection of playful, cheeky and darkly humorous new works predominantly utilising text and digital reproduction techniques, as well as QR codes as an optional way to invite the audience to interact with the work.
Each piece has both a physical and virtual execution; the concepts play with trust – for anything (or anyone) could be at the other end of the link (or username) – thus mirroring the act of opening unsolicited bulk email, or taking sweets from strangers…#justsaying.
And A Brooks Art in association with WW Gallery are presenting More Strange Hungers, a solo show of recent and new works by Sadie Hennessy at A Brooks Art – from February 7 to March 23.
More Strange Hungers is the ejaculate outpouring of a rich seam of work that first formed whilst Hennessy was preparing for her solo show at WW Gallery.
That show, Strange Hungers, took its title from the eponymous 1963 British Pulp Fiction book that delves into the mysterious workings of desire and the insistent lusts and yearnings of the sexual appetite, and Hennessy added her own unique voice to this ‘…the (unanswered) mating call, or at least the rallying cry, of the aging woman as she grows old disgracefully.’
In More Strange Hungers at A Brooks Art, Hennessy continues to deliver her humorous, wry, feminist manifesto and a celebration of female empowerment and sexuality. Her hybrid collages and assemblages create unsettlingly surreal combinations and are delivered with a wicked sense of humour.