The title for the opening show of the 2012 season at mothers tankstation
, Beautiful Potential, is based upon a corruption of the title from one of the shows premising installations; Beautiful Expectation, by Shane McCarthy (born Ireland, 1988). McCarthys eternally incomplete installation (or more exactly; a carefully arranged sculptural installation about the poetry of incompletion or unfinishedness), attempts to deny the permanence of resolution by an apparent perpetuation of the possible. The text, Beautiful Expectation, appears to hover, luminously, somewhere just proud of the surface of a wall. Its intangible promise constituted by nothing (literally) other than pure light, neither the expected neon, paint nor applied vinyl, its diffused, auratic presence is, however surrounded by hard, real things, the objects and events of its creation; a stepladder, various scattered tools, an electric sander, a projector and other studio detritus. Although the work has of course become, its decisions and ultimate resolution being a thing of the past, it maintains the promise of the future in a continued present.
Similarly, all the works included in this curated project exist in this idealized, hypothetical (non)space; Between the idea / And the reality
. The extended theoretical premise looks at practice that relates to the abstract notions of space through and beyond divergence, dissipation, or what might be described as the fulcrum between material partiality and/or a presence of partial materiality.
In 2006, Uri Aran (born Jerusalem 1977, lives and works in New York) created two sculptures, both titled; Untitled, 2006, and made simply from breakfast cereal boxes, Captn Crunch and Rice Krispies, respectively. These plain forms that allude to the monoliths of minimalism (and science fiction) have been given just sufficient alterations to transform them from their primary state/intention as commercialising (full/loaded) vehicles/vessels for breakfast cereals to (empty/loaded) vehicles/containers of art meaning. Resituated from the horizontal flat of the table, to the vertical flat of the wall they now hang like paintings and are otherwise adjusted with aestheticising stains, lacquer washes, collages and inscriptions. All of which oddly have the effect of amplifying the meaningfulness of the original printed images and texts, rather than denying or obfuscating them. Intriguingly, these simple early sculptures by Aran have been so meaningful to the artist that since their creation and until now, they have been a permanent feature in his studio, and only latterly embark on a new stage of predestined contextual meaning, which may theoretically re-date their making from 2006-2012.
Anna Sagströms (born Sweden 1985, lives and w