At Every Fading of the Stars @ Tramway

Review by Franchesca Hashemi | 09 Apr 2015

James Rigler reinvents the classic perception of architecture and ceramics in his new show At Every Fading of the Stars.

The artist takes inspiration from domestic forms and historical context to create a cultural purgatory within Tramway. The result is familiar yet foreign, distant but with an invitation to come home.

Abstract connotations aside, Rigler’s work challenges the audience to investigate objects that may clutter or create moments in life. Alongside this ideal are the functions of neo-modernity and custom design, which help to invoke a spectacular situationist memory.

Reworked pillars provide At Every Fading of the Stars’ focal point, and the gaps between further illustrate space for subjectivity. The neat little ceramic feet resting on top of the structures suggest a visual parallel between Nelson's Column and the oblique modernity of 'contemporary art'. 

Whatever the guise, it works. And as one peers from the pleasantly sooty colour scheme, subtle yet greater themes arise: cappuccinos, bone blue china, sickly yellow, ethereal candy floss and cheap gold velour.

Connotations are supposed to be drawn and as the warmest forms are two majestic therapist couches – which are actually sharp, short tableaux of home-kitsch quality beneath a cheap marble or wooden frame – memories of furniture and places from our past melt into Rigler’s portrayal of present. It is an environment reflecting a wealth of worlds yet the precise layout, steely tones and smaller, ornamental objects mirror the new age fascination with engineered glamour.

At Every Fading of the Stars is more than an Ikea for kings, because of the lengthy thought processes that allow an audience to become detectives of their mind. James Rigler’s perceived philosophy is the most attractive part of this show, as well as his capacity to reinvent Granny’s kitchen circa 1970-something into a scarce show of shapely and bittersweet models. [Franchesca Hashemi]