Visual Art
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type figure awakes from sleep in a forest with the caption, ‘What happened?’. Gallagher has scratched to
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The Fruitmarket Gallery, Edinburgh, until Sun 13 Feb cref’te 9'°Wi"9 beards and “"95” "’CKermg With a'.‘ “‘“T‘” ‘" i“ "" "‘”‘ "’ ‘7 “ i' ° ..... eerie unnatural luminescence. She has a great skill for trum- .l ,-r, arm mt n ,. I.l,|' n a
conjuring mystery, darkness, drama and humour all at Mela llltitll l‘»l.il?ll.ll l lit, i» ll r. J Gallagher is all about texture. Her work makes your once. slit -< >tr. par lltll «i an. ill, ll l. -v ll! fingers twitch with the urge to touch. At first the pieces Upstairs ‘Double Natural’, a grid of 396 heads culled «atall )lllllllll r? ,v u ll .w l mm. a ' T - carved water-colour paper, projected films and from black magazines mainly of wig advertisements as; (mm-Jr. 'lfllll‘r) an -: l‘, i: tin : f
modelled plasticine wigs seem completely disparate. Delicate, precise scrapings of soft paper; grainy, scratchy films and prints from magazines replete with plasticine wigs: It doesn’t naturally form a whole. What links them all brilliantly however is the scalpel and the surgeon’s hand.
Her ‘Watery Ecstatic’ is a series of minute patterned images of underwater creatures revealed like fossils in the paper. The cuts are feathery, swirling like Chinese dragons or jagged like broken shells. The marks and traces are the stories that rest at the bottom of the ocean. For Gallagher this silence resonates with the myth of the Middle Passage - the transportation of slaves from Africa to the New World. Their scope is wider though and implies every tale that went unheard.
Moving next door, you are plunged into darkness and four projections. Industrial and raw, the main piece is a reworked 503 8 movie — the paranoia and confusion of
imagination.
The launch night of Govan Gathering Light
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shows, beyond the political implications of race identity, a true delight in pattern. Rolls, zig-zags and spirals are all unique and together marvellous. By acknowledging first the unnaturalness of wigs, she then makes the falsity even more elaborate, like a double negative, turning them into something positive. A critique of the messages of the wig ads from magazines like Ebony is a given - look more white and be more attractive to men - however there is also irrepressible joy in the triumph of the creative
There is so much going on in Gallagher’s work. A first viewing creates intrigue, but the depths and textures keep pulling you back to make new discoveries and new connections. This is a confident, exciting show by a young artist who turns her skilled hands and mind to realise each idea fully, but keeps you guessing too. An irresistible combination. (Ruth Hedges)
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