Siobhán Hapaska in Strike Site

Pi Artworks, London

12 January – 25 February

Siobhán Hapaska, so, do you have any regrets?, 2012, resin eagle skulls, resin eagle feet, rabbit fur, fox tail, Persian lamb skin, leather, aluminium and steel

Siobhán Hapaska, so, do you have any regrets?, 2012, resin eagle skulls, resin eagle feet, rabbit fur, fox tail, Persian lamb skin, leather, aluminium and steel

Siobhán Hapaska, so, do you have any regrets?, 2012, resin eagle skulls, resin eagle feet, rabbit fur, fox tail, Persian lamb skin, leather, aluminium and steel

Siobhán Hapaska, so, do you have any regrets?, 2012, resin eagle skulls, resin eagle feet, rabbit fur, fox tail, Persian lamb skin, leather, aluminium and steel

Siobhán Hapaska, so, do you have any regrets?, 2012, resin eagle skulls, resin eagle feet, rabbit fur, fox tail, Persian lamb skin, leather, aluminium and steel

Siobhán Hapaska, so, do you have any regrets?, 2012, resin eagle skulls, resin eagle feet, rabbit fur, fox tail, Persian lamb skin, leather, aluminium and steel

Strike Site, installation view, Pi Artworks, 13 January – 25 February 2017

Strike Site, installation view, Pi Artworks, 13 January – 25 February 2017

Strike Site, installation view, Pi Artworks, 13 January – 25 February 2017

Strike Site, installation view, Pi Artworks, 13 January – 25 February 2017

Curated by Sacha Craddock
Private View: Thursday 12 January, 18:00 – 21:00
Artist talk: Thursday, 16 February 2017, 18.30 - 19.30

 

Pi Artworks London is pleased to announce Strike Site curated by Sacha Craddock. Strike Site is the third of five exhibitions that make up Pi Artworks London’s Curatorial Season that runs from October 2016 – July 2017.  For the season Övül Ö. Durmusoglu, Alexandra Schwartz, Sacha Craddock, Oliver Sumner, and Morgan Quaintance have been invited to devise and develop their own curatorial project working with artists predominantly or entirely from outside the gallery’s roster.


Strike Site is made up of new commissions by Ana Čvorović, Anna Fasshauer, Alice Hartley, and Jack Killick and existing work by Brian Griffiths and Siobhán Hapaska. Strike Site attempts to set a generous stage, to stage a site that mirrors the contradictory but nonetheless palpable sense of the temporary that comes with an exhibition of art.

 

Brian Griffiths’ empty structure controls space to show that the existence of just about anything also points to that which has been discarded or left behind. Plastered across an entire wall, Alice Harley’s print is exuberant and dismissive. Anna Fasshauer’s metal banner relief sculpture is directionally hollow while Jack Killick’s vast wooden cube shunters tentatively across the space.

 

Itinerancy – whether elective or enforced – has become a primary characteristic of this generation. The works in Strike Site hint at a parallel preoccupation with movement, freedom, and barriers, without being illustrative commentary.


Craddock is keen that the temporary nature of the Gallery exhibition manages to allude to the actual, to where settlement and control produce an equal and palpable sense of insecurity. What is a place like after people have moved on? How will people survive, or pass through? Combined, the works by Čvorović, Fasshauer, Griffiths, Hapaska, Hartley, and Killick ‘s will allude to a situation defined by transience.
    

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