Today we took a coach to Swansea to visit Ingrid Murphy’s exhibition ‘Seen and Unseen’, part of the Language of Clay curated by Ceri Jones at the Mission Gallery. This was my first visit to the gallery and although a small space, the shop and exhibition were very thoughtfully laid out. Ingrid’s technological collaboration with Jon Pigott ‘The Campanologists Teacup’ had a perfect location in the old church’s apse. The installation consists of a series of ceramic horns with life size ceramic ears (3D scanned, 3D printed and slipcast) attached. When a member of the audience pings a teacup on a plinth in front of them, rubber balls suspended on strings inside the horns bounce around in a random series of movement to generate a 30 second or so sequence of sounds.
Interaction is a key theme of the exhibition. Some of the pieces require the audience to participate, to touch the palm of a ceramic dipping former in the shape of a hand which subsequently lights up inside with a ghostly radiance (and at the same time lights up a copy of the hand in Ingrid’s home), to place a terracotta plate on a turntable so the splatters of lustre vibrate the needle to create sounds, or to scan QR codes on our phones to reveal moving augmented reality models. Other pieces employ interaction by considering the interactions of the people involved in the making of an exhibition such as the series of replicas of traditional ceramic figurines superimposed with the faces of the artist, gallery director, filmmaker, curator etc.
My favourite piece stood out since it was the only artwork without a label or description of how the work was intended to be interacted with. A series of white ceramic plates onto which transfers of distorted imagery have been applied and on which sit gold lustre decorated teacups and pots is presented on an antique wooden table. It’s only by crouching down to view the work from an alternative perspective that you realise the images are anamorphic photographs of architecture from Wales to Jaipur which become clear in the reflections of the vessels. I was instantly reminded of the mirror in the Arnolfini portrait in which the scene of the couple we look upon is echoed back from a different perspective, both eerie and slightly voyeuristic. It’s interesting to note that in an exhibition that has such a pronounced emphasis on sound and touch the thing I was most drawn to was an optical illusion.