Our world can be characterised as being in a state of coming
undone. A state of barely together almost falling apartness.
The very architecture of our existence is unknowably complex and
inherently unsound. We individually and collectively bind it
together - but only just. Our environment and lives are at once
rich with possibility and riddled with risk. Always in the making
and being unmade - incrementally or catastrophically - the world we
create and occupy embodies a flux of incompleteness and change.
In these moments of coming undone we simultaneously
glimpse disintegration and the possibilities of remaking ourselves.
Therein lies the potential for making art and for engaging the
world that intersects with it. Each of the distinctly different
artists featured in Persuasion Equation operate in the
resonant, absorbing and perplexing interstitices between everyday
life and the discourses of art.
Using a large brush and ink on paper Matthew Hunt attempts to
trace and plot the 'floaters' in his eyes. Rendered in broad brush
strokes Pure Momentary Glimpses captures Hunt's fleeting,
ever shifting, optically unique and imperfect perspective of the
world within the apparatus of his own eye. In the blurry flash of a
stray particle Hunt registers the mechanics and action of looking
and translates it into imagery. Akira Akira's sculptural
configurations suspend the viewer in an uncertain stasis. Titled
Production Still this work plays on states of stability
and brings to mind questions of balance, geometry and materiality.
Presented on an Ikea table, Akira's enigmatic tableau unites
disparate appropriated objects, shapes and forms (such as a
geodesic sphere associated with 20th century social utopianism)
that speak of the ambitions and failures of modernism. In this
piece Akira draws together the poetry of the everyday with a
concern for physics.
Meticulous, intricate actions and processes based on assembly,
disassembly and reconstruction animate Chris Bond's work. In
Plastic Limb a single eucalypt branch has neatly been cut
into pieces and laid out, the ends of each segment finely painted
with colour stripes. Thus reconstituted the branch now embodies the
qualities of both naturalism and contrivance, of realism and
simulation. Huseyin Sami's installation Chandelier
(Linden) is a peculiarly hybrid object which is at once
organic and awkwardly geometrical. While recalling exquisite and
grandiose chandeliers and more recently Alexander Calder's
elegantly articulated mobiles, Sami's sculptural form hangs almost
limply. Its manufacture suggests a homely, therapeutic arts and
crafts aesthetic that contrasts with the status and values of its
An ambiguous melancholy pervades Catherine Bell's work "I'll
huff and I'll puff and I'll blow your house down". Displayed
on a digital picture frame Bell's strangely allusive and slightly
disorienting images combine in sequence to form a type of animation
depicting unknown, monumental buildings and mysterious urban sites.
As we watch these simple fragile structures (made from talcum
powder) erode, they evocatively register the passage of time and
echo the impermanence of our constructed environment.
Despite the persistent presence of crumbling symbols and broken
icons, coming undone is not about heroically looking into
the epochal abyss - instead it implies an everyday consciousness,
offering pause, reflection and perhaps even encouragement for us to
keep it together.