Two Rooms: Billy Apple. Simon Morris.

Billy Apple at Two Rooms, Auckland – with introductory note by Wystan Curnow – 3 pairs [diptychs] of Billy’s Gallery Abstracts, displayed on 3 walls – the 4^th wall is Simon Morris’s [see below]. Gallery Abstracts = found abstracts, that is, dealer gallery floor plans, with indications of columns/pillars & other features in colour – one of each pair in bl & wh, the other in wh & bl. Finding abstracts in pre-loved design means eliminating as many traces as possible of aesthetics of sublime & transcendental discoveries by inspired High Art artists. As ever, conceptual. One oddity, the sewer man-hole cover in the floor of Two Rooms, cleaned up & painted red. Curnow notes that Billy is now marking the hidden water & sewerage reticulation in galleries. Billy, however, simply liked making it red, making sure it gets included in the play of the ‘found abstraction’. I note that in the streets, iron covers over water are painted blue, fire hydrants are marked in yellow, and at least one gas cover that I have seen in yellow.

 The paintings of the plans of the galleries are purely [visual-] language, distanced from anyone’s actual perceptual presence. They are un-viewable, diagrams - abstractions from what is available to perception. One is therefore confronted by the abstracted perfect view of the floor on which one is standing.

The gallery works accord with Billy’s 2008 & 2010 public art in Mt Eden & Kingsland, - the old Monkey Steps re-made & two street lay-outs, guided by systematic exploitation of the golden mean, an irrational number, always therefore imperfect when applied to actual designs, acting as grid on pure areas of black, white & green [artificial surface instead of unruly turf] & precise notation of geophysical location. It would be only with a ruler that one could ascertain whether the rectangle one sees from one’s particular viewpoint is truly a Golden Mean.  

I have it in mind to take some photos of these public art works.

Simon Morris takes the 4^th  wall & lays his grid over it. The metre [?]-long strips about 10 cm high, leave a remainder at one end of the gallery. This remainder is carried over into the next layer of painting & so, on for 17 layers. The strips then appear staggered in steps on the wall.  There are two colours for the strips, black & light slightly streaky blue. The third strip is the white of the wall itself.  In this way, the added design & colour open the distance between the actual & the arbitrary chosen geo-physical measure. The premise of the work was that it would go on for a specific limited amount of time & would then stop whether it completed the painting of the wall or not. The number of days’ work, I was told by Marina at the front desk, was 3. Morris deliberately designed it so that it would reach no further than the hanging line of Billy’s abstracts.  The scheme of this wall painting is in the tradition of Sol le Witt’s conceptual wall-paintings. 

Photos are on http://www.ocula.com/art-exhibitions/gallery-abstract/

 

 

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