Spare Parts was a solo exhibition at Gallery S O London in 2013.
My aim was to explore the experience of going to an exhibition, knocking down some rules and regulations of what you can and definately cannot do in a gallery.
I wanted to offer a different physical experience. One where you could touch, pick up, construct and author the works. The audience makes exhibition because I offer them the opportunity to make pieces. Ultimately I wanted people to relax, stop whispering like in a church and incourage laughter and play.
About Gallery S O
Gallery S O was founded in 2003 by Felix Flury in Solothurn, Switzerland. The gallery’s main focus is the contemporary object, which through an inherent grace of form and materials is able to convey diverse narratives to reflect, not trends and styles, but the attitudes and expressive intentions of the artist/maker.
Felix aims to stimulate the public’s perception of, and curiosity about, contemporary art objects and jewellery, and to provide an insight into how the creative input is influenced and shaped by applied concepts and processes. Displaying a selection of works by international artists and makers, S O will display works that are not only aesthetically desirable but also reflective of the artistic communication of imaginative meaning within the physical form.
Spare Parts took its name from a labelled box in an independant DIY shop close to the workshop in London. The content was odd’s and sods, things that didn’t totally match up, but actually was a kind of treasure box off miss matched stuff. Folks would always be picking through, checking if there was a part they needed at a bargain price.
A piece of gold; watching the guests behave and misbehave, what they would do and what they were afraid of. Up until this point i had never physically listened to my work. This made me so curious to take some time and have time with work and to experience them fully.
I have no wish to consciously ‘surface’ the metal,” he says. “With pieces being tarnished, scratched and marked from the bench, I hope they lose the scary, intimidating aspect many people find themselves confronted with when viewing precious, perfect silver.
A new visitor to the gallery, encouraging a more diverse audience.
“Clarke is hard to categorise within the canon of metalworkers: a maverick, humorist, and risk-taker, who delights in shifting his approaches and priorities to shake up every assumption about the nature and value of objects.”
Sara Roberts
