Zoe Crook – 27 November, 2014

This show comes from disparate neighborhoods. Queens and New York City, Gemma Syme and Imogen Taylor do not collaborate at North Projects; rather they share space like they would a subway trip. Breathing the same air but not professing any knowledge about the other, habit is their touchstone.

Promotion. Gemma Syme’s practice is described and supplemented with quotes akin to “Gemma Syme believes art is important and awesome”. Imogen Taylor’s blurb is a list of her past shows and education history. The poster is of a quality and symbology that is popular in Christchurch at the moment: reisographed, it is coloured in pink and purple with simple but masculine font.

Surface level. There are a myriad of approximately A4 sized paintings dotted throughout North Projects. These works resemble early Picasso or cubist structures/geometric form. They are in muted tones, and sit atop hessian, grey cotton, wire mesh and other industrial media.

Surface level. There is a large flat screen on an easel. The video that plays frames the midriff and pelvis area of a person wearing grey Y-front underwear. The loop that runs, presents a process of the figure placing various objects down the front of said underwear. These objects include deodorant and sunscreen. Each object is graced with a series of movements - whether it be a thrust, gyrate or hip-swing.

Surface level. A small table with two chairs opposite one another fits perfectly in a small room that is utilized as a thoroughfare. The seats are occupied. The inescapable position, Gemma Syme, with back to the wall, faces a changing seat. She is a picture of Frenchie from Greece, with her hair and retro clothing, (she does not however wear a Pink Ladies Jacket). Those present in the latter seat seem to be receiving a singular nail manicure. The acrylic nails are painted with abstract patterns in bright colors, but they are not unique, there are multiples of each pattern. The conversations that are had are not personal in a mutual sense. They are interspersed with Symes chewing gum.

Two in the Pink could be making grand gestures towards a growing dissidence in art galleries. But it doesn’t elucidate. Perhaps one red and one white. Perhaps both pink. Perhaps the space pink and the two empty.

Zoe Crook

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