This is a great place to start. I think one way to stay open to a multiplicity of meaning, belief and experience (both of others and our own) is through curiosity. My initial thinking for the show circled around notions of truth. This led to thinking about how knowledge is formed and disseminated, and in what ways do stories, either fictional, factual or in-between, help us make sense of ourselves in the world? These things—truth, knowledge and story—are all plural. I'm interested in the ways that language, architectures, bodies, power and ideas of truth are all malleable, vulnerable, impermanent, perhaps contradictory and essentially unable to be contained.
Whether it be a curiosity based on materiality and perception, noticing the way light absorbs into the jarrah armatures, reflects off the glass and is refracted, at certain times of the day and from particular angles, onto the floor and walls of the Atrium. Maybe it is a curiosity of attempting to make sense of the forms, their scale, material or imagery. Or maybe it is experienced as a spatial problem—of how to navigate through the works to get to the other side of the building. I hope these initial curiosities of materiality, form and architecture can then move into a kind of commitment to knowing each of the works better, or in new ways. Maybe this commitment helps someone to notice textural undulations, the sites where air has become trapped in the glass or the way certain colours overlap and bleed into each other. Maybe multiple surface textures are uncovered, or repeated forms and imagery are recognised. This is a commitment of being with the forms, not necessarily of finding out or knowing any more about what the work is ‘about’—not so much a promise as it is an offer.
There are two other components of the show that I feel are important to introduce here: an audio composition made with Archie Barry that features the resonant sounds from a series of shells, and a text titled Keep the line/bleed this by Hil Malatino. Both components are paired together in the space and aim to introduce other narratives to sit alongside the glass works. Hil’s text presents an account of the life of Michal Dillon, possibly providing context for the surrounding works. The work is exploring reflection, refraction, absorption, and resonance—both in and through text, between people and through the materiality of glass and sound. Both text and audio are playing with time, working against linearity and oscillating between archival or scientific truths and fictions. These components, in company with the five glass works offer myself, and I hope others, opportunities for both curiosity and commitment, relation and recognition—a way to sit with it all.