Image: Gail Hastings, Exhibition: To Do, 2014, acrylic on plywood, plywood, watercolour and lead pencil on paper, 185.4 x 225 x 225cm (photo: Sofia Freeman)
Exhibition: To Do
Closing Launch: Saturday 3 May, 4-6pm
with the work’s spatial score performed by clarinetist
open Wednesday-Saturday, 11am-6pm
Gail Hastings’ Exhibition: To Do is a ‘to-do list’ for making art not yet done, a task-at-hand still at-hand, except for the construction of storage shelves that await the art, aligned in the gallery along the Earth’s cardinal axes.
The height, width and depth of each of the four storage shelves that comprise Exhibition: To Do have been determined by the thickness of the plywood used (18mm) and the repeatable pattern of spaces this thickness makes. ‘The ubiquitous need to create space for a desired event through a ‘to-do’ list in which a disarray of tasks can be put into productive order’ forms, here, a composition of solid and non-solid intervals that implicate a spatial weft and warp of patience and breath.
Please join us for drinks with Gail Hastings from 4-6pm with the performance commencing at 4.45pm.
“Where a to-do list was all over the place, thwarted, while somehow also in one place, cohered.” (Exhibition: To Do)
The Commercial exhibited a solo presentation of Hastings’ work at the inaugural Sydney Contemporary art fair in September 2013 from which a major work, Corner, was acquired by the National Gallery of Australia, Canberra. Exhibition: To Do is Gail Hastings’ first solo exhibition at The Commercial.
Gail Hastings’ eBook, Missing
Foreword by art historian Richard Shiff
You will find actual art, not documentation of art, in Missing by Gail Hastings. For instance, the space between you and Missing’scover is a real space, the space of the room in which you might sit, the space you happen to be. It is also the watercolour space of the sculptuations inside Missing where, in one, four friends gather to take comfort in their card-carrying doubt of contemporary art while, on page three, readers suspect they have missed something integral. A foreword by art historian Richard Shiff discusses the being (or non-being) of Missing.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.