Cerith Wyn Evans

White Cube Bermondsey

My eyes adjust as I finish my footing at the entrance of South Galleries. An overwhelming, systematic set of lighting requires oneself to adapt before stepping within the gallery walls. My ears are triggered, an echoing breath ranging in pitches grasps onto the surrounding air. Senses are filled juxtaposing my sense of reality.

3 sets of multiple neon pipes hang from the heights of the ceiling. Scattered, organised and structured. ‘Neon Forms (after Noh I)’ & ‘(after Noh II)’ appear to be dysfunctional and broken. Their distrubed approach presents itself as a ruptured arrangement of lighting. However, as my gaze wanders, it’s formation starts to become quite the opposite. There is a neat presentable aspect, as their existing structure appears.

I cannot help myself but feel the amount of energy surrounding me within the space. Beginning to search for the hum, my ears drag me towards ‘Composition of 19 Flutes’. With unsettling pitches, an anxiety rushes through me. Yet, I still cannot find myself withdrawn from this piece. There is a sense of confinement, but simultaneously all is being revealed. What this exactly is, is unclear. Towards myself, the energy, socially, reality has become blurred.

After all, there is no order, no realism. The surrounding audience and palm trees may bring you back, but my perception is fulfilled with transforming energies. Energies in which reality suffocates with it’s distractions.

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