‘Ashes, Bones’, 2019, pigment print, 78 x 109 cm, edition of 1 + 1 A.P.
In ‘A Way In, A Way Out’, Lucas Davidson investigates the permeable nature of perception using processes that rely on both control and chance. This solo show brings together six photographs and a site-specific installation to mark the artist’s fifth exhibition at Dominik Mersch Gallery.
‘A Way In, A Way Out’ invites a slower kind of looking that requires viewer attention. By creating interplay between illusive and tangible aspects of the works, Davidson proposes that the illusory and the factual are inextricably intertwined.
The centrepiece of the exhibition, Field Study, is a work comprised of four-sided mirror boxes that are stacked on top of one another to form a complex spatial configuration. Using geometric shapes, repetition, and scale, Field Study challenges viewer perception with multiple perspectives occurring simultaneously.
Accompanying this work is Davidson’s latest photographic series. Using a macro lens, Davidson takes close up shots of his body and manipulates colour to create highly-textured and abstract works in purple and pink. These photographs are then scaled up, printed and soaked in water. Over time, the photographic emulsion separates from the paper base, transforming the static image into a malleable material where chance directs the outcome. For the first time, Davidson exhibits the unique objects themselves, which have been manipulated and set back onto the paper base, blurring the boundary between bodily and photographic surfaces.
To coincide with ‘A Way In, A Way Out’, Davidson launches a limited edition book that documents the working process of the photographs produced in the lead-up to the exhibition.
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