↳ Exhibitions

Giles Eldridge at Suprainfinit

February 9, 2022

Artist: Giles Eldridge

Exhibition title: Medusa (SEQUENCE #7)

Venue: Suprainfinit, Bucharest, Romania

Date: December 14, 2021 – February 18, 2022

Photography: New Folder Studio / Mihaela Vezentan, all images copyright and courtesy of the artists and Suprainfinit, Bucharest

Suprainfinit gallery is delighted to invite you to « Medusa », a site-specific installation by artist Giles Eldridge part of the SEQUENCE project.

The vitrine project — Sequence — was first formulated in the office of the gallery in early 2019, in the first weeks of my job while adjusting from London to Bucharest. Thinking of how every single inch of space is monetised in London and how politicised and scarce space is everywhere, the aim to transform the latent vitrine into a vital space seemed a desirable gesture. It is a 5 metre long vitrine, differing in width from 43cm to 47cm due to the thickness of the window frames, has an upside-down L shape with an even narrower access entry. Unused, the vitrine is both visible and invisible for the passers-by as it blends with the façade of the block of flats placed at the intersection of Plantelor with Mântuleasa street.

Sequence is an uncanny space precisely because it is emersed with potentiality and constraints. Each exhibition installed stimulates the next one as the vitrine grows and spreads in becoming a space of its own, quasi detached from the gallery and the neighbourhood. The space gets more and more elastic with every visual assemblage, with bodies stepping in and out, with each gaze or frugal view.

Welcome to Medusa that unearths Sequence #7 and promises future ramifications in the 24/7 window front.

-Cristina Vasilescu

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Medusa

What we see is a selection of images on glass shelves.

These glass shelves form a structure within which the images are housed.

The shelves attempt invisibility but fail. The images are not passive.

Medusa is an assemblage of five temporary and contingent groups of diverse individual pieces.

It is one large work made up of twelve pictures and five glass shelves, which simultaneously fall apart and reconfigure. The images are in motion.

Each image corresponds in someway to another picture via its chromatic, composition, subject, or material nature. However, the discrepancy between them also negates. This suggests differing narrative directions with the agency of each picture vying with the others.

Non-visual things are indicated between the drawings and paintings.

-Giles Eldridge