S u p p l e m e n t



The Mean Reds

Laura Buckley
July 22nd - August 14th 2011

› Laura Buckley- CV

For its fourth exhibition as part of the 2011 programme Supplement is proud to present a solo exhibition by Laura Buckley.

Laura Buckley works with audio, video and sculptural assemblage, her pieces often taking the form of expanded installations. The material for the projections is gathered from everyday life, filmed offhandedly with a mobile phone, capturing everyday moments and anecdotal sound clips. These elements are brought together within her sculptural assemblages and installations, creating a gesamtkunstwerk, balancing each component whilst allowing the elements to spill out of and over each other.

For The Mean Reds, Buckley uses footage shot whilst traveling in Berlin and Tarifa in Spain, drawing upon specificities of place to further explore possibilities in her practice. Chroma/Levante (open truncated triangle), 2011 is a video shot in Tarifa, the southern most tip of Europe, which captures sun saturated coastal scenes of impromptu play and experimentation. Tarifa is famous for its two opposing winds each with a different set of characteristics. The winds are said to be capable of producing anxiety in people who have prolonged exposure to their opposing forces.

The overall sound of the exhibition shifts between the ambient sounds of the street and weather, drum beat, synth and voice. This is underpinned by an improvised violin score that creates a shifting and provocative accompaniment. The sounds spill into each other across the films, in an ebb and flow redolent of the twin, merging winds of Tarifa.

Architecture and design are also recurrent themes within the exhibition, an influence seen in Berlin Void (closed truncated triangle), 2011 in which a logo on a bus shelter is used as an extended viewfinder which directs the attention of the viewer. This graphical motif, a hollow pair of isometric cubes, is referenced in the sculptural elements that occupy the exhibition space. The truncated triangular forms and complex Perspex construction of Marcelo’s game (model for a pavilion)/Tokyo headbangers, 2011 are projected upon and through, extending their geometry across the space and into the films.

The exhibition shifts between a playful exploratory character and a darker more anxious undertone. The Mean Reds uses the medium of film to explore fragmented memory and lived experience, recording as a shoring up of memory against anxiety. This slippage between recollection, fragmentation and representation provides the shifting grounds upon which the viewer creates their own experience of the work.