Sitting somewhere between painting, sculpture and archive, Bex Massey’s work examines the role of painting and the language of display in the face of popular culture. Through the amalgamation of sculptural form and simulacra she investigates notions of worth, both in terms of allegory; the phenomena of celebrity; the throw away nature of British popular culture and the undercurrent of anxiety drifting just below the surface of daily life.
Modern living finds us presently maneuvering through a landscape where information passes at infinite speed and as spectators we feverishly chase experiences to 'snap' and post on the interweb or save in clouds. This acceleration in technological growth also means that VR glasses can be donned and we can traverse a 2D form like that of a painting. But how does it all feel? Massey argue's that this automation negates the human senses. She is therefore offering ÀhhÁÀhhÁ as an example of what could happen if you were able to physically enter her nature morte and drink its offerings, listen to its wallpaper and sidestep the tablecloth.
The present climate is contactless. Less so in ÀhhÁ