Historically, the discourse surrounding art has frequently emphasised the immaterial: the idea, the notion, the sublime. In "Material Ontology," we contest the preference for the conceptual over the physical by stating that matter has its own agency. The artists examine how materials both... Show More

Historically, the discourse surrounding art has frequently emphasised the immaterial: the idea, the notion, the sublime. In "Material Ontology," we contest the preference for the conceptual over the physical by stating that matter has its own agency. The artists examine how materials both anchor and transcend their conventional contexts. The show analyses the philosophical connections between matter and meaning, reconceptualizing materials as active entities with agency, history, and energy rather than as passive or inert objects. This exhibition examines the concept that materials collaboratively shape the world, influencing culture, history, and identity significantly. The exhibition prompts us to reflect on our interaction with the materiality of our environment. In what ways does matter represent memory, labour, or desire? The exhibited pieces challenge our relationship with the material by addressing both its formal attributes and its metaphysical and historical implications. A terracotta sculpture transcends its status as a mere item, evolving into a dialogue between the soil and the hands who crafted it, as well as between the elemental and the cultural. This inquiry into materiality is intricately connected to wider philosophical discussions. One could reference the writings of phenomenologists who contend that our comprehension of the universe is facilitated by our embodied interaction with materials. The artists in "Material Ontology" assert that materials possess a form of awareness or, at the very least, a history of human interaction that communicates with us. These materials defy complete objectification; they evoke the labour inherent in their creation, the political implications of their extraction, and the temporality embedded in their construction. The artists highlight the permeable boundaries between nature and culture through their engagement with materials. A synthetic polymer, ostensibly detached from nature, still retains evidence of human influence, including the remnants of industrial processes and the ecological repercussions of its manufacture. In contrast, organic materials like clay or fibre evoke the cyclical essence of life and decay—forces that transcend human influence. These elements prompt a discourse on impermanence, the transient essence of life and art, and the ethical considerations of creation in a world with limited resources. Consequently, "Material Ontology" transcends the examination of the tangible and invokes the immaterial. It prompts us to contemplate how the tangible environment influences our perception of time, location, and existence. By emphasising the materiality of their work, these artists encourage us to reconsider the things and settings around us—not as inert items, but as active contributors to the development of cultural narratives, histories, and human experiences. This exhibition initiates a discourse regarding the unseen influences exerted on materials—specifically, the forces of politics, ecology, and temporality. It prompts us to reflect on the narratives embedded in things and how, consequently, we are influenced by the substances that form our environment. This exhibition does not pursue answers; instead, it provides a venue for contemplation, a serene meditation on the complex, frequently tense, interactions between humanity and the materials with which we share our existence.Show less