Installation view, Kate Newby's exhibition 'Nothing that’s over so soon should give you that much strength' at Hordaland KunstSenter, Bergen, Norway
Photo Credit
Hordaland Kunstsenter is proud to present Kate Newby´s first solo exhibition in Scandinavia entitled 'Nothing that’s over so soon should give you that much strength'.
Kate Newby´s works for the exhibition are characterised by a keen understanding of the place. Each work has either been created on site, or integrated meticulously into its environment.
Starting with the building itself, Newby opened up four windows of the gallery space, bringing daylight back into the room, allowing the surroundings to become a part of the exhibition itself. As the windows have been permanently closed since 2002, the calculated gesture of breaking them open feels liberating, but at the same time provokes a feeling of brute-force.
Hundreds of meters of rope, specially produced by a local rope factory, are coiled through two holes that are cut in the newly opened gallery windows. The rope physically connects the inside of the gallery with the outdoors and embraces the building with its length.
On the gallery floor, more spaces are pried open. Nearly a thousand metal wedges are hammered in between the wooden floorboards. The wedges are all single-handedly shaped in wax before they are casted in brass, copper and silver. Between the rapid making of the wax forms, the casting process, and the wedges being hammered into dusty, old floorboards, the work not only seems to deal with a physical interruption, but that of time as well.
Hordaland Kunstsenter is proud to present Kate Newby´s first solo exhibition in Scandinavia entitled 'Nothing that’s over so soon should give you that much strength'.
Kate Newby´s works for the exhibition are characterised by a keen understanding of the place. Each work has either been created on site, or integrated meticulously into its environment.
Starting with the building itself, Newby opened up four windows of the gallery space, bringing daylight back into the room, allowing the surroundings to become a part of the exhibition itself. As the windows have been permanently closed since 2002, the calculated gesture of breaking them open feels liberating, but at the same time provokes a feeling of brute-force.
Hundreds of meters of rope, specially produced by a local rope factory, are coiled through two holes that are cut in the newly opened gallery windows. The rope physically connects the inside of the gallery with the outdoors and embraces the building with its length.
On the gallery floor, more spaces are pried open. Nearly a thousand metal wedges are hammered in between the wooden floorboards. The wedges are all single-handedly shaped in wax before they are casted in brass, copper and silver. Between the rapid making of the wax forms, the casting process, and the wedges being hammered into dusty, old floorboards, the work not only seems to deal with a physical interruption, but that of time as well.