Not Quite is Where

Tea bowl named Mino-game ('Mossy tailed tortoise'), attributed to the polymath Hon'ami Kōetsu (1558-1637), via the Smithsonian Library.

Books (2003), cardboard, acrylic paint, adhesive tape by Michal Budny (via). A recent, excellent show next door to us at South London Gallery.

Soft Holes with Dried Fruit (2010), bronze, berries, by Des Hughes. Via Ancient & Modern. Hughes was a part of Strange Events Permit Themselves the Luxury of Occurring at Camden Arts Centre in 2008. The selection of work, by Steven Claydon; concerning itself "with certain exceptions, flaws, aberrations, yawning apertures and flowering discrepancies inherent in taxonomic, historical, and aesthetic groupings. In particular it considers the way in which the artifact, object and document behave within a shifting contextual climate with an emphasis on the ‘thingly’ character of the work of art and its constant attempts to struggle against definition, toward selfabnegation and self-cannibalization." This essay, in full here.

Untitled (2010), pâpier–maché, acrylic paint, by Vincent Fecteau. This orientation was shown at Inverleith House, Royal Botanic Gradens, Edinburgh. "When I decided that these pieces would be hung on the wall and be reversible, I knew that the mechanism of this movement and installation should be clear and simple: hang from one post, no extra support. The forms and the fact that they are reversible – that was complicated enough. It seemed important to me that the 'how' was as honest as possible".

The flipside was exhibited at Greengrassi earlier last year.

Data (2009) by Hayley Tompkins (clay with found object). As a part of Autobuilding, her exhibition also at RBGE. A film work, in the same space, was named Interstice; that is, "an intervening space, especially a very small one" (OUD).

Neither Growth nor Structure A (1979), hessian, plaster and acrylic paint, by Barry Flanagan. Via Waddington.