Jo Lathwood's exhibition, "The Belief in Things Disappearing," showcased at The Mirror in Plymouth, emerges from a self-directed challenge set by the artist: to create a show that vanishes. Rooted in Lathwood's profound concern for the environmental footprint of her practice, this challenge permeates every facet of the exhibition, from its creation to its eventual dissolution after the show's closure.
The theme of disappearance serves as a fulcrum, intertwining two seemingly disparate yet interconnected motifs: waste and magic. Lathwood prompts viewers to contemplate the journey of discarded objects, highlighting our ambiguous understanding of waste disposal. Objects transition from personal possessions to trash, seemingly vanishing from our lives, yet adhering to the scientific principle that matter cannot truly disappear but rather transforms into different forms.
In the realm of magic, once a liminal space bridging art and science, technological advancements have diminished room for ambiguity and belief. Lathwood juxtaposes the spectacle of magic tricks, where items seemingly vanish before our eyes, with the reality of their sleight of hand. Her exploration into metal work and smelting combines with her pratice of building from recycled materials to create tangible objects that tell their own tales.
Central to the exhibition is Lathwood's film, "The Belief in Things Disappearing," weaving together magic tricks, visits to waste plants, chemical experiments, and forgotten histories through alchemical symbolism. This narrative challenges notions of value and permanence while illustrating the fluidity of our understanding of the world.
Constructed from recycled materials, including timber and fabric blinds sourced from Plymouth's Scrap Store, the exhibition space itself becomes a statement on sustainability and resourcefulness. Large 'Trick Drawings' made from scavenged waste paper and natural ink depict studies of props used in illusion tricks, further blurring the lines between artifice and reality. The ink used in the drawings is made from Oak Galls and becomes darker and more defined over time, providing a contrast to the overall message of the exhibition.
In a second film, "Alchemical Symbols," old alchemical symbols made from biomaterials degrade over time, symbolizing the erosion of boundaries between art and science. Lathwood's "Jois Mobius Loop" project, inspired by artist Cornelia Parker, features a slingshot and stones inscribed with recycling symbols, later catapulted into the sea. The documentation of this action becomes the only enduring trace, challenging notions of value and materiality.
Throughout the exhibition, Lathwood grapples with the dichotomy of being a sculptor who shapes objects in the world while striving for environmental stewardship. Questions surrounding material consumption within capitalist structures intersect with the entrenched systems of value and ownership within the art world. Her manifesto offers a simple yet ethical starting point to any project.
In "The Belief in Things Disappearing," Jo Lathwood invites viewers to confront the impermanence of existence and the complex interplay between waste, magic, and the ever-shifting landscape of human understanding.
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