Delaying Tactics @ House for an Art Lover

The Japo-Scandi style of this renovated stable house is thematic to the ideas of multicultural heritage that form the foundations of group show Delaying Tactics.

Engaging with the heritage of the space, Christina Garriga’s deconstruction of Rennie Mackintosh furniture is beautifully designed and spatially appropriate. It unites the narrative of third generation multiculturalism with Glaswegian localism. Its constructed organic qualities suit the space, and Emil Lillo’s frankincense-infused, painted woodwork ng-o-ng has a textured oil slick quality that carries through this theme.

Equally spatially sensitive and inspired by an early 20th century photo, the expressive and skilled wooden bust sculpture of Birthe Jorgensen’s The Rutherian Woman possesses a melancholic depth. With its own narrative of lost roots and fading cultural identity, the carved figure disappears into the woodblock around her. Its interplay with Jasper Coppes’ Rock Dust advances the narrative to one of erosion and regeneration, of Govan Viking gravestones that have been cast and recreated in eco-materials.

There is, however, a difficult inconsistency with the inclusion of a series of gaudy prints of blue and pink bearing the letter 's' in gold. They come as a distraction from the organic atmosphere of the rest of the exhibition, but without much effect.

Conor Cooke’s work, however, makes for an interesting linguistic purgatory in his lesson plans for teaching a rare language. Making the exclusive engaging, though their presentation is somewhat lacking, he evokes a bodily reaction by creating “friction under the tongue”.

In all cases, Birthe Jorgensen commissioned works by her fellow graduates from the Glasgow School of Art’s Sculptural MLitt. There are moments that this shared educational background can’t quite carry the group show as an organising rationale. For the most part, however, the works together contribute to a convincing narrative.