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From the press release: Abstract: Sean Edwards. He’s asked not to have anything to do with this press release. Which allows free reign to mention something he likely wouldn’t: master plans. Edwards has made a series of shows in the last two years in which he has been refining his practice, resulting in the emergence of a master plan, possibly a life’s work. Over the past decade Edwards’ sculptural meanderings with studio tidbits have created an archive of small-scale works. These works belong to him and his studio. They form a fluid body that is plundered for each exhibition, shown on various structures, often alongside a peppering of other more autonomous works. The exhibition as an entity is merely one fixed point, consecrated by audience viewership, before the components are disbanded to return to the central studio collection. While Edwards insists the work is nothing until the viewer completes it (an occupation with the philosophy of the tree falling unheard in the forest conundrum rather than the express point of all art, to engage viewers), he also directs the viewer through his exhibitions. Here, Edwards show has been made according to a plan of the former gallery space within the current one; choreographing the movements of the viewers around the ghost of another space, a previous show. In an age in which the speed of development in any given arena is often an esteemed measure, an unfolding master plan is an admirable (in all problematic connotation) and difficult (in all exquisite connotation) proposition.
A solo exhibition of a new site specific installation at Limoncello, London, May 29 to August 2, 2014. This Exhibition was Reviewed in the Art Journal Frieze: Mark Prince (2014) ‘Sean Edwards Putting Right’, Frieze, Issue 165, available at https://frieze.com/article/sean-edwards-0 Also referenced in the Art Journal Art Monthly: Art Monthly, ‘London Round Up’, Georg Vasey, issue 379, september 2014
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