This installation was a collaboration with RACA which consisted of graphic designer Pulsk Ravn and architect Johan Carlsson. RACA was founded in order to invent and develop new ways of looking at design, architecture and art. Their practice worked across these disciplines both as a group and in collaboration with others; this is in order to be able to keep an open-minded professional and innovative standard.
A plasterboard and timber wall was built one foot inside the front of the gallery, blocking off the front door and the window. Once completed the existing door was used to break through the plasterboard wall, making an second entrance through which visitors passed when entering the exhibition.
Founded in 1998, Five Years’ initial aim was to set up a gallery which was artist-run and where programming would maintain a direct relationship to practice. Five Years continues to develop this aim of maintaining close links between the production and exhibition of visual art, and the discourse which informs it.
One of the existing gallery walls was painted lilac, a colour redolent of the looming gentrification in the Hoxton/Old Street area of London. Holes were punched in the wall to achieve a maximum density of one hole per square inch. Photographic spotlights were placed behind the wall to incorporate within the installation another artist’s studio that existed behind the wall while the light radiated through the hole into the darkened gallery space.
A small room was built in front of the entrance to the gallery; the proportions of the room mimicked the specific architectural dimensions of the front half of the gallery space. The visitors could choose to either enter the false room through its own door, or walk around the space. The room was painted an institutional brown and the walls and three Montreal youths were invited to axe the walls with instructions to disrupt the surface of the walls without breaking through completely. A pink bathrobe was found and hung up inside the door. Between the ‘real’ gallery and the inner chamber lay fragments from the process and the lights from inside the room cast shadows on the gallery walls.
A plasterboard and timber frame was built and placed across the threshold of two spaces within the gallery. Instructions were given to paint the object the color of the most influential feature of the surrounding space; since the galley was in a park, it was painted green. Using a bushwhacking knife one surface of the wall was then disrupted using a motion like that used when cutting through dense brush in a forest. The reverse side of the frame featured a pink plasticine work by Alex Schady.
The image of a domestic bedroom scene is drawn directly on the gallery wall by pencil, the ‘walls’ in the drawing are marked, tearing through the real walls back to the building beneath, and light shines in though its holes. On the bed of the drawing is a spill tracing made of wool, and in front of the entire piece on the floor are two large bags, full, as if ready to go somewhere. Here surface becomes an insistent, unsettling third party between image and viewer, and strange dialogue begins between the Dionysian principle of chaos, dream and intoxication and the Apollonian principle of order and form giving.
Tom Lacie, Untitled, 2003
Disneyland After Dark was large scale group installation on the theme of the dark side of the playground. A large plasterboard and timber frame wall was built in the middle of a long and wide hall. The front of the plasterboard was painted white and instructions were given to axe the wall from one end to another in a rhythmic pattern echoing the rhythm of the city of Berlin.
A long gyprock wall is built to divide the gallery from the Artothek, a picture library located at the entrance of the space: an abstract drawing was chosen from their collection to hang on the wall facing the library. Moving around the wall into the gallery space, one finds that the other side of the wall is covered from floor to ceiling with used mattresses while the rest of the space remained empty. The two sides communicate with one another in constant flux between a minimalist modern aesthetic and post-modernist complexity, between decorative surface and functional structure of protection and containment, between a private world denoted by the mattresses and their individual histories and the public world of the generic gallery wall.