Through a combination of sculpture, film, set props and photography, the installation forms a composition connected by loss of control. The exhibition is organized around three figures: a sign language interpreter, a free-diver and a pelagic fish. Abboud re-presents the crossover between research and appropriation as well as the visceral body examined through precarious assemblages. A vertical stacking of clay pots in ‘White Noise’ combines the artist’s attempts at applying linguistic signs through the act of wheel-throwing, and letters are rendered meaningless. Similarly, a sculpture called ‘Kiss to the Sea’ takes a moving diaphragm out of context; the artist’s gestures abstract the breath into a solid form that morphs into the shape of a sea creature. Nearby, a video of a stomach exercising breath control undulates like water.
Taken from the set of one of Abboud’s recent films, a large prop titled ‘Night Canopy’ occupies the majority of the space. Mimicking the canopy of the Annunciation by Fra Angelico, the structure lies horizontally on the floor, no longer supported by its columns. Like a shipwreck, the backside of the sculpture reveals the layers of waste and leftover from different parts of the film set. Exploring the materialization of action produced through one’s hands, the exhibition focuses on layering as a tool to transform stabilities associated with speech and intention.**
Exhibition photos, top right.