Grace Woodcock's current "23.5°" exhibition at Castor Gallery is a visual odyssey into a world that is organic yet scientifically inspired.
Woodcock's sculptures are not just objects; they are instruments for observing and feeling. They materialize the gravitational and orbital forces at play, recalibrating our understanding of existence on a spinning planet. The exhibition, titled "23.5°," nods to the Earth's axial tilt, subtly reminding us of the imperceptible yet relentless shifts in our environment.
These changes, stemming from phenomena like melting glaciers and groundwater extraction, prompt a contemplation: Are we, at some level, attuned to the accelerating pace of our planet's orbit?Each sculpture in the gallery, barring two 'barometers', is tilted precisely at 23.5°. This tilt is more than a structural choice; it's a physical manifestation of the complex scientific shifts occurring in the universe.
Through these sculptures, Woodcock translates these celestial concepts into a sensory experience, a 'gut feeling' that resonates with the viewer.The artistic process involves fabric stretched over wooden structures, hardened with primer and oil paint. These sculptures, resembling familiar wearables like shoes and helmets, also delve into abstract representations of bodily functions such as digestion or respiration. They are perceptual exercises, challenging our understanding of the body's interaction with the world.Objects grounded in motifs from nature, shy away from literal representations. They are nuanced, thoughtfully crafted constructs that teeter on the edge between reality and abstraction. Each piece is a culmination of profound contemplation, provoking questions about evolution, life, and maybe future extinction.
This exhibition, with its minimalist yet intriguing approach, serves as an invitation to ponder the delicate balance of nature.In addition, the exhibition features alternative measuring forms, like radial wave lines on the sculptures alluding to natural rhythms - tidal, circadian, or electromagnetic.
The recurring motif of the number '12' pays homage to ancient timekeeping methods, infusing a historical context into the narrative.Woodcock's broader artistic practice bridges biology and science fiction. Her work resonates with themes from 1960s New Wave speculative literature by J.G. Ballard and Stanisław Lem, exploring societal responses to altered temporal realities. Yet, Woodcock's perspective is more exploratory than ominous, urging us to acknowledge and contemplate the greater forces at play in our universe. This exhibition, with its blend of scientific insight and artistic expression, invites viewers to engage with a world that oscillates between the tangible and the conceptual, the familiar and the unknown.
