London-based Dray’s self-titled show takes on modes of production, blurring the lines between art, commerce and manufacture. Having taught herself computer assembly, she uses automated reverse engineering to question the position of the artist and that of the machine in the contemporary world – and which is valued more, the human gesture or the functional superiority of the machine?
The style of the exhibition harkens back to minimalist art of the 60s, but instead of pop-arty shapes and figures are artworks that appear as appliances, “factory-made to fit the logical electrical requirements for the gallery”. The space itself becomes a kind of template for the exhibition with the “electrical functions of appliances synchronized and programmed, dictated by the capacity and availability of power in the room”.
See the Cell Project Space exhibition page for details. **
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