Sholto Buck, forest of ladders
Antonia Nisbet, Take care now

\\ August 22nd – September 8th 2018

Forest of Ladders
Sholto Buck

Forest of Ladders is a project which explores the self through world-building. It is an atmospheric encyclopedia, an exercise done by the artist in order to catalogue their own sensibility.

To do this, a series of short, short stories has been written, each one an account of an imaginary place or scene. Although written as individual stories, these texts form a body of work which teases idiosyncratic modes of perception. This is developed through the decision to write each text by hand, and through photography. The stories have been handwritten and then photographed against windows, shot from the inside looking out. Despite this project being formed around the description of places and worlds, its consistency of style and voice, both in material form and content, reveals the presence of a self; a specific subjectivity which emerges through images of place.

Forest of Ladders negotiates concepts of otherness through a study of place. Places which are not here, those which could become here. Places which can be seen, and those which can only be read. It is a meeting of here and there, brought into form through the conjunction of photography and writing. By bringing these opposing elements together, I hope to create an atmosphere; a sense of something forming.

Take care now
Antonia Nisbet

Take care now is a body of work that arises from a felt response-ability, and an accumulation of response. These responses are sensitively assembled and realised on purpose-made screen mechanisms within a video-projection based installation. There is a futile quality to the responsive gestures performed, privileging the minor gestures and emotional labour that become embedded within daily processes of caring. The kinds of caring the work is concerned with consciously reject the individualistic and the grandeur, and often approaches things from an ecological perspective. It acknowledges the multiplicity of already existing social, political and environmental processes, for better or worse, as well the subtleties and nuances that complicate such binaries. Take care now over time has become rooted in maintenance and continuation, developing gestures that have become grounded against prevailing capitalistic markers of what is considered valuable work. The porous and durational threshold between art-making and life-living means the tools for caring have been lifted directly from the artists own material vocabulary and practices of life-living which accumulate as small realities of care-based economies.

Accompanying Take care now is the open invitation to receive handwritten ‘newsletters’ from the artist throughout the duration of the show.