2024 Heavy-Duty
2023 The Missing Fish
2023 To Barely Fit
2022 Protector I
2022 You Can’t Fly Without Feet
2022 For the Fist Bump II
2021 For the Fist Bump I
2021 Like a Miracle
2021 How Four People Walk Together
2020 The One You Dropped
2019 When the Day Breaks...
2019 Fox Calling
2018 Displacement
2018 Glimps of Other Story
2018 A Road Where Nobody Walks
2017 ⇣
A fox leaves its rank scent in an alleyway. A pigeon pecks at rubbish in a busy square. Snails creep in through cracked windows, depositing glistening trails. A rat lies in a bush near a children’s playground. Moths flit from a wardrobe. Squirrels scurry around in parks. Bees drift in through the office window. Tree roots buckle a pavement.
We live in close proximity to other organisms; from caged pets to wild animals, window boxes to weeds. And there are those other living things – yeasts, bacteria, moulds – that float invisible through the air we breathe, or grow on our skin and in our stomachs, parasites that are essential to human lives. City dwellers try block out these living actors that survive, adapt, and thrive throughout the urban environment. Air conditioning, double-glazing, anti-bacterial spray. Conspiracy to control, ignoring the interdependence of human and non-human lives.
‘Darlings of the Underground’, seeks to foreground these overlooked and sidelined relationships, drawing attention to human encounters with organisms designated ‘other’ to ourselves by the categories enforced by science and classical philosophy.
These forces of the ‘underground’ resist dominant models of how we define the human in opposition to everything else, and challenge the concept of the self-contained individual. The domestic setting of Subsidiary Projects is used to highlight the fact that these plants, animals, and bacteria are always present – species are interpenetrated, lives are interwoven – even in contexts where we feel uncomfortable encountering the wild.
Set in a space where large windows offer a view of a street ornamented with tropical plants, the absolute distinction between inside and outside is confronted. Elements that we usually associate with the exterior are interiorised, while domestic elements are recontextualised outdoors. Vegetables are planted indoors; bacteria are permitted to grow en masse; water-sensitive equipment is put to work outside.
Humans are scratching against the limits of domestication, too comfortable to complain, too cramped to stretch out and explore. Can we be like the weeds, and find a way through the cracks?
Curated by Martin Mayorga and Vanessa Murrell
In collaboration with Anna Souter
Dateagle Art
Selected Press
Issey Scott
We live in close proximity to other organisms; from caged pets to wild animals, window boxes to weeds. And there are those other living things – yeasts, bacteria, moulds – that float invisible through the air we breathe, or grow on our skin and in our stomachs, parasites that are essential to human lives. City dwellers try block out these living actors that survive, adapt, and thrive throughout the urban environment. Air conditioning, double-glazing, anti-bacterial spray. Conspiracy to control, ignoring the interdependence of human and non-human lives.
‘Darlings of the Underground’, seeks to foreground these overlooked and sidelined relationships, drawing attention to human encounters with organisms designated ‘other’ to ourselves by the categories enforced by science and classical philosophy.
These forces of the ‘underground’ resist dominant models of how we define the human in opposition to everything else, and challenge the concept of the self-contained individual. The domestic setting of Subsidiary Projects is used to highlight the fact that these plants, animals, and bacteria are always present – species are interpenetrated, lives are interwoven – even in contexts where we feel uncomfortable encountering the wild.
Set in a space where large windows offer a view of a street ornamented with tropical plants, the absolute distinction between inside and outside is confronted. Elements that we usually associate with the exterior are interiorised, while domestic elements are recontextualised outdoors. Vegetables are planted indoors; bacteria are permitted to grow en masse; water-sensitive equipment is put to work outside.
Humans are scratching against the limits of domestication, too comfortable to complain, too cramped to stretch out and explore. Can we be like the weeds, and find a way through the cracks?
Curated by Martin Mayorga and Vanessa Murrell
In collaboration with Anna Souter
Dateagle Art
Selected Press
Issey Scott
Photography and sound / print on foam board, Arduino voice recorder, 92 x 199 cm
In England, wild foxes roam the streets at night, slipping past unseen. When the world sleeps, they quietly emerge to sift through garbage outside homes. They linger in the middle of empty roads, disappearing with the dawn. Every night, I watched and recorded these uninvited guests. I captured my room through their eyes and their wandering streets through mine, then placed these photos in the window frames of the exhibition space.
영국엔 도시 속 야생 여우들이 밤만 되면 사람 눈을 피해서 길거리를 배회한다. 그들은 야행성으로, 사람들이 잠들고 나면 어디선가 나타나 집 앞 쓰레기더미를 뒤진다. 도로 한복판 위를 서성이다가 날이 밝으면 달아난다. 나는 불청객과 같은 그들을 매일 밤 관찰하고 기록했다. 그들의 시선에서 보는 내 방과, 내 시선으로 바라보는 그들의 거리를 사진으로 작업해서 전시장 창문 틀에 설치 했다.
Photography and sound / print on foam board, Arduino voice recorder, 92 x 199 cm
전시장의 정원에 설치된 사운드 작품. 여우사냥에 쓰이는 여우를 부르는 도구들과 악기로 만든 사운드 작업이다.