until 15.04.2023

Jack Brennan, Verity Coward, Charlie Davenport, Paul Kindersley, Mette Sterre

Curated by Monster Chetwynd

VSPACE
www.massimodecarlo.com/vspace

What is the point of small ‘c’ conservative comment? What is the point of covert political action?
The aesthetic, the playful, the amusing, are these qualities to invest time and effort in?

What is the ‘game’/agenda with an online space that is rendering the real? Why is it not more imaginative or confrontational? Is it replicating the show room? Why no Gothic windows?

Why choose to exhibit the works in this way? The 3D does not convert well to the 2D option.

In Real Life, I am entirely IRL. I have no online profile and here is the contradiction: I Love the work of Theo Triantafyllidis. The genderfluid orc who paints whilst questioning the point of contemporary painting. Watching the multitasking avatar is exquisite. The layering of surfaces you comprehend as an audience leads to a mediative state of mind. You have to contemplate as you decipher the digital canvas surface, the surface of the depth within the digital canvas and the realm you are invited into to witness the act. What more can I ask for as the avatar's gesture commits simulated paint to surface?

Highly educated secular Salamaders R us is a show that is in-between worlds, it is sliced into the space that is not provocative. It is a group show. It is within the walls of a replication of a commercial gallery. What comment can be made? How conservative is the decision to replicate the frames at this width? What decision was made to render a photograph to represent a 3D work?

Where do the compromises lead us? Are we on a journey that is defiant? Are the works bristling with comment? The artists in the show have worked with ‘me’ Monster Chetwynd for many years; they have insatiable energy and quick minds. How does VSpace deal with/process their IRL personalities and art works?