For her exhibition 'L'acte gratuit', the artist turns our attention towards the act of making (doing) itself. Each work is evidence of this act, the result of that act, and a mediation on the will that compels one to make (do).
For her exhibition at Galerie Allen titled, L’acte gratuit, Mel O’Callaghan turns our attention towards the act of making
(doing) itself. Each work is evidence of this act, the result of that act, and a mediation on the will that compels one to
make (do). Installed in the gallery is a large-scale regent structure of connected espaliers, Framework, 2014. Closed
on all sides excluding several entry and exit points, the structure looks like a lattice chamber. It’s dormancy however
is only short-lived as we, the audience, activate it by passing through. A transcendent bridge between ritual and art.
Each espalier taken alone implies action, almost calls for it, the structure, defines it, a sportif Dan Graham pavilion
that exposes the processes of perception and certain expectations in a quasi-functional space. Strengthening the artist’s
concept of ritual process, the wooden sequence doubles as a type of passage. As one passes through the threshold they
become a performer and part of a larger work. One part of a communal experience.
Accompanying the structure of espaliers are a series of objects imbued with potential for activation. With Impression,
2014, the artist mounts what appear to be canvas crash matts to the gallery wall, forming a tableau in hues of utilitarian
tones. Padding, rivets and ropes work like geometric abstractions, compositions that run with function. Each matt
conjures physical trauma and the psychological state of one who may predict or prevent the action of crashing.
Protruding from a wall on individual mantels are twenty delicate ceramic forms, Foundation, 2014. Acquired during
research into casting, each is a tool once used as a weight or counterbalance in the creation of a work of a master
ceramicist. Each object provided the structure and foundation, support and balance, that was required during the
forming of the object he desired. The forms of Foundation are uncannily similar to the work the artist was casting herself.
As the unused results of another’s process these chalky white casts are the by-product of the repetitive practice – a
physical representation of the performative act. The sculptures achieve what in life we cannot - an end.
A new colour video work, L’acte gratuit, 2014, concludes the exhibition, giving a key to the other works. It hints at an
action that is obviously gruelling and yet unseen. A male face, cropped-in tightly, appears and then exits a locked-off
frame. Progressively we witness his mounting exhaustion as sweat appears upon his brow and his breath becomes shorter.
A bell is heard off-screen and we discover that he is a boxer returning from his fight, reappearing in-frame even more
depleted. Out of frame is the liminal space (the ring) where the protagonist undertakes his rite - an exhaustive dance
that delivers him closer to pain and disintegration. We question his recurring return to the fray, his decision to undertake
more physical pain, and wonder if he has received any illumination or are we witness only to his continual demise.
Likewise the viewer also experiences this catharsis as he feels the boxers pain and imagines himself suffering.
Image: Mel O’Callaghan, L’acte gratuit, 2014,HD colour video with sound.
Press Contact: Marie Chênel / +33 (0)1 45 26 92 33 / marie@galerieallen.com
Opening: Wednesday 3rd Decembre, 6:30pm – 9pm
Galerie Allen
59 rue de Dunkerque
75009 Paris
Wednesday - Saturday
14h - 19h or by appointment