Craig Sims






1. Comment on the layout of the exhibition and the relationships of the works presented.

Erin's work, I felt, was a little physically disjointed from the whole, although in itself a charming arrangement — the crib-bench was a nice touch. Rachael's collected sculptures, heralding the trail of beached buoys, rope, and netting leading up to the gathered participatory works, I found to be particularly elegantly done. Lauren's awaiting workshop was intriguing. I wonder if a more bustling, communal atmosphere — alongside more intimate retreats — might accommodate a broader battery of temperaments? Rosemary's arrangement worked well; simple, neat. Unnerving to rearrange so beautifully constructed a thing. Jen's Confessional tucked away under the stairs was simply perfect.

In all, the upward coil from Erin to Jen was a very fine use of a — probably rather intractable — space.
2. Comment on your experience as a visitor: consider the bodily/spatial experience.

I found navigating the stairs something of an obstacle to the flow of the thing, but that's just a personal shortcoming you really oughtn't be expected to accommodate. As above, the spiralling arrangement of it all was done very well.

The sparse nature of the layout recommends it; it'd be seductive, I suspect, to want to show a good deal more, but the abundance of white space and subsequent room-to-breath was appreciated. I fear the presence of the reception bled a touch into the exhibition, but the bright, playful nature of Erin's work weathered it well. As above, Lauren's drawing space may (or may not) have benefitted somewhat from the activity of downstairs. Upstairs, though, was clean, calm, and untroubled.