la·cu·na/ləˈk(y)o͞onə/ The lacuna, or lexical gap, represents a gap in translation, a place where multiple meanings are applied, where meanings shift and new interpretations can be made. ArtLacuna is an artist-led space established in May 2013, located in an old coroner's office near Clapham Junction. It accommodates artist studios, a residency and research program, as well as project and exhibition space.
Bryn Lloyd-Evans / Charlie Godet Thomas
Private view: Friday 13th July 2018, 6:30-9pm
Open: 14th - 29th July, Fri-Sun, 11am-4pm

Bryn Lloyd-Evans’ work explores disruptive and indignant attitudes towards institutional standards; by stretching his installation’s material behaviour, and challenging such objects’ common associations, he creates politically charged artworks from fabricated and sourced materials.

For Belly Up Lloyd-Evans presents Metro Count, the work reads as the story of something falling apart, or shifting dramatically. It brings together fragments of the city; the "X out" commonly seen on the window of a failed business, a dismantled traffic counter, void stickers, redundant vehicle badges denoting Great Britain's inclusion in the European Union, and, posturing humorously from behind Corex®*, a cartoon chicken borrowed from high street fast food signage looking on angrily at an egg timer.

When in dialogue with each other, Lloyd-Evans' careful selection and use of materials allows them to become more than the sum of their parts. Through the close observation and use of the everyday Metro Count sets out to explores the effects of being left amongst the debris of ruthless societal shifts.

For his contribution Charlie Godet Thomas continues to explore the bridge between writing, the autobiographical, the tragic and the humorous. Mounted on the ceiling we are presented with two rotating discs from his series Ongoing Poems (The Clock at the Sailors Arms), the title of which references Dylan Thomas' Under Milk Wood.

The ship's clock in the bar says half past eleven. Half past eleven is opening time. The hands of the clock have stayed still at half past eleven for fifty years. It's always opening time in the Sailors Arms.1

A sense of time stopping still is a recurring motif in Thomas' work. In Ongoing Poems (The Clock at the Sailors Arms) that stillness, paradoxically, takes the form of a seemingly infinite motorised loop. The work is a further investigation into the potential of circular structural forms in poetry, which Thomas has explored increasingly in his recent work. In the instance of these works the cold language of copyediting is repurposed and given the space to occupy a more emotive or perhaps confessional role.

Thomas also presents two new works from his series Illuminated Manuscripts, which fuse the stylistic qualities of both newspaper cartoon strips and the archaic form of the illuminated manuscript, which are, notably, ancient and more recent means by which writing and imagery have been amalgamated. The works take their lead from William Blake's collection of illustrated print-poems Songs of Innocence and Experience, Thomas summons to fore the Blakean existential-mythic state of "paradise" and "fall", all be it re-imagined as a lamenting the societal collapse of a (possibly not too distant) imagined future.

In both practices we are presented with a sense of a place or time under close observation, the works seemingly serve to discover in the analysis of the small individual moment the crystal of the total event.2

*Corex® is a branded material commonly used to protect windows by shop-fitters during renovations.

1. Dylan Thomas, Under Milk Wood (Weidenfeld & Nicolson, London, 2014) p. 14.
2. Walter Benjamin, The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press, 1999) p.461.

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