saturday 29 april – start 7.30pm>

Ex GAM

Ashes Withyman Moore (CAN)

Lady with Gull, Peanut butter steps, World Antacid

environment, première, production Xing/Live Arts Week

“Scape, pedicellus, flagellum,
scape, pedicellus, flagellum

Johnstone’s organ Honeybee cell phone, set to airplane mode
Great hairy hands of the sky clapping out this language:

Slugs – lie down, be drowned in beer, cut in half with these rose scissors
Pigeons – your feathers make foul house slippers
Vermin – I’m shaking the blood coagulating seed rattle
Mosquitos, Fleas, Bedbugs – I’m fashioning world teeth to snip you clean severed
Dirty street Cats – antifreeze milk bowl and a fan belt trap, I watched you being dragged to the dump by a bit of string”

In Lady with Gull, Peanut butter steps, World Antacid, Ashes Withyman Moore has planted antennae. The communicative function of these objects will not necessarily produce significant results; like the agonising wait for the cosmos to give us signs of alien life, this waiting-time alludes to the possible encounters between man and animal. Like an insect mandala or an affective trap, these masts amplify a system of mental projection, creating a field of inquiry between notions of nourishment and harm. A listening station deep at the bottom of the barrel to draw out the origins of the world?

thanks to Catriona Jeffries, Vancouver; Residenza per Artisti Sandra Natali/MAMbo, Bologna
presented with the support of Ambasciata del Canada Roma / Focus Canada 150

Ashes Withyman Moore, until last week known as Gareth Moore, born in Matsqui, British Columbia, lives and works in Vancouver. Moore consistently challenges the intersection between the accidental and the aesthetic. In his complex ephemeral sculptures, he applies a site-specific and process-orientated methodology, often using unorthodox or discarded materials. By inviting the audience to question what is around them and bringing the unnoticeable to the surface, he subversively examines the habits of daily life and the ever-changing environment that surrounds us, as in Blocked Arch, Deferred Ceremony, Dawn Chorus, Tra-diddle da. Like a fly in slow suspense (2014). His ongoing investigations currently explore the physical and symbolic properties of sound and its relationship to humans, animals and sculptural form, like in A Burning Bag as a Smoke-Grey Lotus (2015), a daily ceremony composed of instrumental sculptures, and Bullae (2017), a series of live sound events. Moore’s work has been shown nationally and internationally, including solo presentations at La loge Bruxelles, Glasgow International, the CCA Wattis Institute, Witte de With Rotterdam, and dOCUMENTA (13) Kassel.