Leda Bourgogne | Heidi Bucher | Jacky Connolly | Jessica Diamond | Louis Eisner | Lali Foster | Joseph Geagan | Ross Iannatti | Anne Imhof | Yoan Mudry | Katja Novitskova | Lydia Ourahmane | Michael Ross | Emily Ludwig Shaffer | Anina Troesch | Franz West | Zoe Williams
11th Nov – 17th Dec 2016
Ellis King
unit 7, white swan
donore avenue
dublin 8, ireland
Heidi Bucher
Yoan Mudry
Yoan Mudry
Emily Ludwig Shaffer
Zoe Williams
Anina Troesch
Leda Bourgogne
Joseph Geagan
Ross Iannatti
Louis Eisner
Katja Novitskova
Lydia Ourahmane
Franz West
Jacky Connolly
Lali Foster
Michael Ross
Ellis King is delighted to present Skins – a group exhibition
exploring the phenomena of tactility. The show aims to acknowledge formal
attributes in art and the effect it has on the onlooker; their reactions
and subsequent interpretations.
‘Skin’ can imply a range of dichotomies: organic or contrived, protective or penetrable, idiosyncrasies visible in many of the works shown. It can also be seductive, and due to the palpable nature of the artworks the spectator may be coerced to touch. Yet, in this context and environment, they must fight the inclination to do so. In many cases touch is necessary - to touch is often to know. Here, touch is met with condemnation; a slap on the wrist, or more appropriate form of admonishment.
‘Skin’, by disposition, does not solely provide a façade; it absorbs and consumes. Much like the viewer at the exhibition, who is forced to articulate their visceral experiences into intangible thought.
So when approach is limited, how well do we manage our constraint? Accept the limitation or try desperately to subdue the desire for further exploration?
‘Skin’ can imply a range of dichotomies: organic or contrived, protective or penetrable, idiosyncrasies visible in many of the works shown. It can also be seductive, and due to the palpable nature of the artworks the spectator may be coerced to touch. Yet, in this context and environment, they must fight the inclination to do so. In many cases touch is necessary - to touch is often to know. Here, touch is met with condemnation; a slap on the wrist, or more appropriate form of admonishment.
‘Skin’, by disposition, does not solely provide a façade; it absorbs and consumes. Much like the viewer at the exhibition, who is forced to articulate their visceral experiences into intangible thought.
So when approach is limited, how well do we manage our constraint? Accept the limitation or try desperately to subdue the desire for further exploration?
Give them an inch, they say.
Yet, on the contrary, when we are met with the exposed
do we become roused or avert our senses to the benign?