Drape at Fold Gallery, London

Drape at Fold Gallery, installation view, London, 2022
Drape at Fold Gallery, installation view, London, 2022
Drape at Fold Gallery, installation view, London, 2022
Drape at Fold Gallery, installation view, London, 2022
Drape at Fold Gallery, installation view, London, 2022
Drape at Fold Gallery, installation view, London, 2022
Drape at Fold Gallery, installation view, London, 2022
Drape at Fold Gallery, installation view, London, 2022
Nour Jaouda, Untitled, 2022, cement, 36 x 22 cm
Marte Johnslien, Tubus Titan Iii, 2020, steel-reinforced ceramic with steel hooks, 199 x 32 x 46 cm
Andrea V Wright, Precarious Conditions Of Uncertainty IV, 2021, wood, leather, sheepskin, latex, nylon, paint, rubber, beads, suede, clips, pigmented latex, 205 x 110 cm
Nour Jaouda, Buried in the Knot, IV.2, Pigment, fabric dye on canvas, steel 160 x 70 cm

Drape at Fold Gallery, London

April 27 – June 4th, 2022

All images courtesy of Fold Gallery

Fold Gallery presents DRAPE, a multidisciplinary exhibition that explores notions of materiality, the aesthetics of migration, and the processes of making and unmaking. The work in this show teeters between sculpture, painting, and craft. With ceramics that occupy the space of sculptures, and objects that occupy the space of paintings, there is a melting pot of materials and a sense of work in motion; the processes are constantly evolving.

The three artists in this exhibition create work that references the human body and the lived experience; investigating themes of movement and displacement, transition and isolation, and an awareness of the visceral body in the process of making. These ideas are explored in the use and combinations of materials; clay is fired with metal, found objects are paired with resin; casts are shown with sewn fabric and steel. There is a sense that materials are transient and ever-changing.

Nour Jaouda’s work evokes issues of movement and the politics of cultural amnesia. Through material deconstruction and the reinterpretation of traditional craftsmanship, she fractures narratives to elicit meaning. Meaning, in this case, relies on the process-bound event of its deconstruction, where the act of undoing and un-building becomes an addition rather than negation to the work.

Marte Johnslien explores ideas of circumstantial sculpture, the use of ceramic materials and techniques that have the potential to create a synthesis with larger contexts and thereby challenge common conceptions. Some of the contexts that she deals with are ecology, nature, perception, and the application of systems and networks. There is also a fixation on the materiality of color, and clay’s ability to bond with other materials, and how these materials react unpredictably in the high temperatures of the kiln.

Transformation has always been an important component in Andrea V. Wright’s practice, through materials or methodology. Utilizing geometric and organic structural references, her work employs a hybrid of controlled elements: highly finished clean lines, spatial arrangements, and compositions. The contrasting materials (leather, latex, fabric, rubber), paired or arranged with structures, are often a record of surfaces, of moments in time where works are developed within the site-specific context. These elements are woven into her practice suggesting a veiled architecture that reflects the body’s structure and stance.

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The press release and the photographs are courtesy of the gallery and the artists.

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