Prior to lockdown my practice was well underway focussing on two main exhibitions, Unsettling Focus a group show of current MA fine art students studying at UCA Farnham to be held at the James Hockey Gallery, due to open 30 March 2020 and a London exhibition possibly being held at Lewisham Art House. With the first being postponed and the latter not getting off the ground all exhibitions were being transformed into online and virtual experiences. Art, culture, and dissemination does not stop, merely how it is consumed has altered… for now.
In the months preceding lockdown ideas and theories relating to the use of public space had preoccupied my thoughts: what the space had been designed for and how, if at all it was used for alternative uses, if so, how this manifest itself into daily life, exploring the notions of public spaces not occupied by the public. While vacant, these spaces were deserted and quiet. For example, a car park devoid of cars or an empty, silent theatre – a theme which now seems akin to prophecy in the light of Covid-19’s effect on public spaces. In stark reality an empty cathedral on Easter Sunday is a synthesis of a dystopian reality. The building framework was built by men for worship and yet without the presence of men the space becomes redundant and increasingly ethereal or sacred like an elaborately decorated mausoleum. Inside time stands still as it has done for centuries almost taking the cathedral into a clandestine dimension. It is non-functional and redundant of its public purpose. Easter did not stop, devotion and prayer did not stop, which begs the question, is congregational attendance necessary for worship? Likewise, if visitors cannot attend a gallery can an exhibition be seen? Thankfully in a world of social media and internet resources the answer is yes.
Michael Palmer 