By Ashley Knowles
Jace McKinney’s work visually echoes the Biblical narrative of the Hebrews being delivered by God from the hands of the Egyptians where they sang a song of praise that became known as “The Song of Moses”. Mckinney’s choir is constructed from plaster molds made from the heads of young children from a grass-roots community and subsequently turned into 21 makeshift lamps. McKinney’s work acts as a metaphor for the innate divinity of the culture of youth and a call for us to elevate ourselves from our collective cynicism.
Jeffrey Meris’ Cradle explores human notions of death and finality. Meris’ coffins are reminiscent of standard coffins used in funeral practices. However, upon entering the piece and closing the two doors, visitors are confronted with their own eternalness as their image is replicated to infinity through the use of visual trickery and mirrors. Once your experience is over, you are able to exit the coffin through a different door. Meris’ work acts as a passage, one that forces the individual to confront their understanding of death. By exiting the coffin, Meris metaphorically speaks on spiritual continuity and the opportunity for a new, different life after the finality of death.
In Lillian Blades’ Mystic Veil visitors experience a partial view of the Gallery. Large sections of Blades’ four veils are obscured by patchwork fabric designs, whilst smaller sections of sheer tulle allow visitors a glimpse of their surroundings. The veil’s random construction explores human understanding of the known and unknown- by randomizing the sections of the tapestry, Blades comments on the human need and effort to compartmentalize, order and construct knowledge, the known and unknown.
National Exhibition (NE) 6: Kingdom Come is currently on display in T1 and T2.