Ian Law has developed incisive strategies of interaction, in regard to both the features of the environment he finds himself working in, and the processes that underlie the cycle of producing, exhibiting and contextualising his works.
For his second solo exhibition at Laura Bartlett Gallery
, the act of opening a door and reading the newspaper are a framework for an examination into notions of role, authorship and subjectivity.
In countering traditional modes of production, Law reflects upon the transient status of an art object as it passes from studio to exhibition space and back again, and lays claim to how materials might accrue a certain process-based autonomy. Enquiring into alternative means of mark-making that affect both artwork and support, residual traces point towards a quasi- functionality of wall, ground and work.
In the days leading up to the installation at the gallery, Law cut out sentences from articles he read from the daily edition of a newspaper, composing and linking together these disparate elements. Eleven painted surfaces each representing a day now circulate the walls of the gallery, the script not immediately legible to the viewer. Standing with ones back to the wall around the edges however, the viewer is positioned in both in the place of the artwork, and as audience or participant.
The words, dislocated from their origins and providing multiple voices across the space, gradually disclose a relationship to the other objects occupying the gallery.
Ian Law (b.1984, U.K) lives and works in London studied at the Royal College of Art (MA). Recent solo exhibitions include: N e w W o r k s , VI VII, Oslo, M a k e S u r e , Rodeo, Istanbul (2012); Co - , Laura Bartlett Gallery, London (2011); Add a Description , Galeria Plan B, Berlin (2011); Is Many , Supplement, London (2011).
Recent group exhibitions include: John Moores Painting Prize , Walker Art Gallery, Liverpool 2012 Like a Virgin, VI VII, Oslo, Burn These Eyes Captain, And Throw Them in the Sea! , Rodeo, Istanbul, A ); 2012 , curated by Lindsay Jarvis, Mews Project Space, London (2012); Young London, V22 Workspace, London (2011); The History of Art , curated by Mihnea Mircan, The David Roberts Art Foundation (2010); Session _ 7 _ Words , Am Nuden Da, London (2009).