an exhibition which considers indirect communication, personal space, emotional propriety and the aestheticisation of powerlessness. A re-configuration of an interior space where linguistic stability gives way to 'unfashionable' modes of compassion and affectation.
Rose O'Gallivan lives and works in London. She graduated with an MA in Printmaking from RCA in 2011. Past exhibitions include These Labors Are, Lambert House, London (2015), To the Microphone, Please’, Caroll/Fletcher, London (2014), Mrs Soprano, Furini, Rome (2012), Accidentally on Purpose, The Quad, Derby(2012), Shadow Lines, Tintype, London (2011).
“In the midst of our conversation about how best to rescue the work, I started thinking about how good it felt, how even if the whole thing was doomed to fail – if none of the 91 people coming really came or liked it, if our attitude towards the ‘badly’ hung plastic remained the same, if the performance turned out differently and we couldn’t get ourselves to do the synchronized gestures, or if emotion filled my body and I lost my voice - I didn’t really mind. I mean of course I did but NOT REALLY. I was thinking how that was ok – a pathetic or frigid exhibition - because you knew and I knew that it wasn’t really, that it was a consequence, a quotation, a type of conversation, and everything that mattered had already taken place: the transformation of distance and familiarity, the shared anxiety, the dissolution of a certain need for protection, the desire and willingness and need for contradiction. And all of that didn’t need to be visible because it’s exactly at this point that things start happening and wasn’t this the main point of doing it in the first place?”