It felt significant to be in the Photographers Gallery visiting this year's Deutsche Borse show. I last attended two long years ago, in the early weeks of the pandemic. It some ways everything was back to what it was, but I sense there is still an awareness of social space. Not quite the choerography of lockdown, more a heightened politeness.
It was a visit that prompted memories in another way too. I was particular interested to see Whatever You Say, Say Nothing by Gilles Peres.
Having spent my childhood summer holidays in Ireland, split between the north and west of the country, the images had a resonance as both reflections of experience but also representations of a reality that was not that long ago.
The arrangement of the room, the use of the walls of the space and one across the centre, accentuated the significance of that form in the narrative of The Troubles, serving as a division, a hiding place, a canvas. The images were presented as excerpts from the structure of the book.of 22 fictional days. The text is woven into the display to create a richer, and more disturbing, experience.
I also appreciated the production of the images, in an almost bllboard style. Another acknowledgement of the street roots of the work. Certainly not the preciousness of a high end gallery and another remider of an early show of my work.
It was good to be back.
