cluster: 2005
a joint exhibition with richard giblett
In this joint exhibition Richard Giblett and Andrew Hazewinkel present  one work each, offering architectural fields that unfold from the body. Repitition, reflection, puncture and projection are employed to render surfaces that articulate and dissolve, acting both to describe and belie form.
extracts from
BY Geraldine Kirrihi barlow

In their joint exhibition Cluster, Richard Giblett and Andrew Hazewinkel offer architectural fields that unfold from the body. Repetition, reflection, puncture and projection are employed to render surfaces that articulate and dissolve, acting both to describe and belie form.

Giblett’s panoramic socio-scape in cut balsawood Subcity (While you were sleeping) 2005 is an expansive tabletop diorama, illuminated from beneath with an unearthly green light. Scanning this Lilliputian landscape we make out the forms of factories, monuments and prisons, amongst a community of buildings less readable in function. Giblett presents us with a vista of both utopian and dystopian potential; his landscape is a joint vision of both the ideal and the nightmarish. We shift between believing we have distinguished the blueprint of the familiar and doubt, just as we get our bearings the possible meaning of these minute geometries eludes us. Just as spying upon ants at work might momentarily lead us to believe that we comprehend the rationale behind their business, before deciding that their communal activities will remain endlessly mysterious to us. To occupy a godly perspective may offer us a kind of master-plan adrenalin, but the motivations of man and ants are ultimately inscrutable when seen from such a sublime elevation.

In the work Gathering 2005, Hazewinkel lays out a field of freestanding sculptural forms which function also as screens for the reception of their own image in space. Whilst their outer extreme is like the rounded off edge of a door their inner mass dissolves, adopting the sinuous silhouettes of Brancusi, Arp or Matisse’s late papercuts. Each form is at once simple and complex, similar and yet unique, as a gathering of sculptural entities they step forward with unreadable agency, inanimate and yet enlivened with a frozen suggestion of momentum. By projecting the image of these sculptural forms in the gallery back onto their own surface Hazewinkel creates a circular sense of reflection and ricochet. We become unable to distinguish between that which is materially before us and the frozen record of what we see projected back again. The effect is similar to that of a hall of mirrors, but we are not the focus of this endless reflection, Hazewinkel’s subject is both more universal and more abstract — the interconnected nature of human and sculptural form.

Working in different materials and scales, with diverse points of reference, Giblett and Hazewinkel nevertheless share an interest in how we might read agency in collected form, they offer us visions which are at once teeming and silent, fluid and still. They reconstruct the familiar to create sites of open speculation, landscapes of wonder undercut with a foreboding sense of threat or unease.

Hazewinkel’s Gathering 2005 assembles a shadowy collection of figures which seem to have been captured slipping between solid form and entities of flesh, they are shapeshifters. Whilst sharing an identical external form, similar to a rounded off door, the internal dimension of each sculpture is unique. That which is cut away, or absent, defines the individual in this crowd of standing figures. It is in this interior dimension that we are closest to the artist’s hand and body, the expressive trace in the work — the line between absence and presence exists in the trace of the jigsaw slicing through mdf board. The silhouette marked out by this line is of a human scale; however what we see is not the reflection of an individual, but an abstraction. This sculptural line cuts in, curling sinuously, gathering bulbous form and mass, travelling upwards, outwards and down again — all the time balancing negative and positive space — tracing an edge that will determine sculptural form.


 One of four Gatherings created between 2005-2006.
Each site response installation formed part of the Gathering Project.
See entire Gathering Project here