Richard Duckerr Richard Livingston ,,MartinSexton

March 9-April 11 2006 Tue - Fri from 1:30-7pm or by appointment

The work in this exhibition engages with elemental human desires and fears, yet each artist denotes human presence by its absence. Through a variety of processes emotion is sublimated: through animal metaphor, mythology, and the monumental of the everyday object. All the work has the deathly silence of preservation: the frozen images of animal necessity, the isolation of a trophy, and the melancholy of lost objects. Yet what comes through all the pieces is the persistence of memories, visceral needs or totemic beasts. Psychological triggers take place – so that sex between animals equates with human desire, myth with wonder, and nostalgia with death. There are connections here: preservation, exhaustion and spectacle.

Richard Ducker covers every-day objects in concrete. Through this process, the object dies, reduced to a formal vessel. Narratives are set up through the introduction of found materials within the work and the way the work is presented. As personal associations, dreams and desires are projected onto these standardised, mass-produced objects, they became alive and turned into commodity fetishes, which evokes the uncanny. The uncanny as a category is defined by its ambivalence, unexpectedly shifting between pleasure and horror. Through these objects, Ducker evokes personal stories, though their ambivalence remains.


Richard Ducker ' Last Orders' 2006
Covered objects in cement.


Richard Livingston makes paintings of pleasure and tragedy using as source material images from archives and the media, which are selected for their emotional resonance. All references to a particular time or place are erased to isolate and accentuate the posture, gesture or fragment. By blurring an anguished or sensual moment and erasing its specificity, another dimension such as colour or tenderness may be revealed, presenting an oscillation between suffering and pleasure, coexistence and separation, remembering and forgetting. Many of the current works are exploring human emotions, perceived through images of animals - in the laboratory, the home or wildlife films. We use animal metaphors to picture desire, affection, cruelty and the movement between visceral animal and rational human

Richard Livingston 'Touch 5' 2006
Oil on canvas



Martin Sexton's installation ‘If You Talk 2 the Future, it Will listen' forms part of several mythical beast motifs that have arisen in recent examples of his work and is described by the artist as a ‘sculptural poem.' A unicorn with an obelisk as cornucopia rises emblazoned; embossed with an ancient cartouche, which reveals in transliteration an incantation from the ancient Egyptian-magician priests of Sais (their spell providing its title). This work forms another part of Martin Sexton's on going ‘Physical Literature' series.rnative planet where taste and morality fled for the world next door.


Martin Sexton 'If You Talk 2 The Future, It Will Listen'
2006, Mixed media


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