Re-make

The title of the exhibition is somewhat hammered home: the works are re-made, re-represented and re-visited from pieces the artists made at college; the space is re-used, a tiny wedge-shaped room that seems chiselled out of the tenement block. However, the idea is taken slightly too far when visitors have to walk over a precariously balanced piece of mdf blocking a staircase below.

While the concept of Re-make is interesting, albeit not original, the content of the exhibition is lacking. Rosalind Thomson’s Cabinet created from found furniture looks as if she took a stroll around the city’s skips and hammered her findings together. It’s a long shot from Picasso’s Bull sculpture. The size and vulgarity of the cabinet detracts from the other work, although perhaps it is a blessing that it hides Thom War’s Re-open/Re-seal Gaps and Heights.

Thankfully there is merit in the more subtle works. Damien Taylor’s Alkyd and Resin on Copper and Steel has a raw material beauty and Benjamin Hochart’s Study for a Wall Drawing has a delicate attention to detail which explores various mark-making techniques.

The exhibition is brief and rather clumsily put together. It’s a shame that the finer, more delicate work does not stand out. As a whole it proves that while an idea can have integrity, such as working with found materials or re-visiting and re-cycling old work to create new pieces, it does not necessarily yield good results. Perhaps a few art works need to be re-worked and re-made a few more times yet. [Sophie George]