For Richard Healy’s third exhibition at Marian Cramer Projects he explores designing for ‘withdrawal’.
Continuing his motif of the ‘hermit’, Healy places the character in the role of commissioner for a series of fantasy interior spaces. Rendered digitally, these interior spaces focus on classic and contemporary lounge and reading chairs. These chairs by designers such as Gaetano Pesce and Toshiyuki Kita are paired with reading stands and candle holders designed by Healy – creating interior spaces for being still and solitary reading, isolated from the outside world
The book stands reappear as objects in the project space over which a select number of books from Marian Cramer’s library are displayed. These objects are accompanied by glass objects embellished with bells, continuing the notion of enforced stillness.
Richard Healy lives and works in London. His work encompasses a number of media including video, sculpture, installation and print; central is the role of function. Embodied through simulations of design, his practice frequently engages with digital technology as a means for artistic production and with it the acts of labour that are obscured beneath.
The Great Indoors follows on from his recent video commission Lubricants & Literature which is currently part of the LUX touring program Cruising Ground featuring Rosalind Nashashibi and Derek Jarman.
Recent solo exhibitions are Lubricants & Literature, Tenderpixel, London UK (2016); Zodiac Beach, LRRH, Berlin DE (2016); Victor Hugo Lost in Cherry Grove, with Tenderpixel at Art International, Istanbul TR (2015); Outside the Red House, Marian Cramer Projects, Amsterdam NL (2015); The Pines, White Cubicle, London UK (2014); Prone Positions, Rowing, London UK (2013); Vetiver, Marian Cramer Projects, Amsterdam NL; But Mr Architect!, Furnished Space, London UK (both 2012) and Strategies for Building, Outpost, Norwich UK (2011).
UNTIL MAY 31st
Outside the Red House
The East coast of England. Misty landscape. Determined waves engulf a long strip of sandy beach. An introverted man appears on the scene, accompanied by dogs. Does he approach the pastoral Red House near the beach – seduced by a life he wishes to live?
Imagining the composer and tenor, Benjamin Britten and Peter Pears. What images flicker in mind? Life in a secluded house. A desert island or a resort? A glamorous pair inhabiting domestic interiors that are magnificently designed with art collection and artefacts. A home – hub for creation and creativity or life in a pseudo 19th century Parisian salon? Britten and Pears men of the world hiding in the Red House.
The Red House as superb kaleidoscope: shards of images, innovative design, fashion, performance, manuscripts, music, Geoffrey Clarke’s Sirens, ribbed glass, walnut wood, William Blake’s St Paul Shaking off the Viper, metal and textile, 1960’s British psychedelic colours, Keith Grant’s Aldeburgh Beach and John Piper’s Clymping Beach.
Between an insider and an outsider, Richard Healy conjures up the lives of Britten and Pears –‘making objects that open-up narrative spaces’ and welcoming us to step into the men’s isolated world. Healy walks in paths of enigma and imagination, putting together the jigsaw pieces (some derive from the Red House’s outdoor architectural features). He animates the life of Britten and Pears in one confined space. Eventually Healy unveils his vision of their domestic sphere, inhabited by artworks and concealed desires; glass phallic sculptures either hung or presented on wooden shelves; mysterious, abstract prints almost architectural. A cable knit sweater floats on a hanger. A film on a music stand. English traditions, English gestures and English codes of a nau[gh]tical world.
Curator and writer based in London