2025.8.27

A few weeks ago I went to see a local art exhibition; this is the third time I've gone to see an exhibition. The exhibition is titled Faigh Amach, and featured three different artists.

Ella Bertilsson's installation at this exhibition, from my viewpoint, is more of a reprise of her previous film than anything. Without the context provided by said film, titled A Peanut Worm's Dream, the dark absurdism visual stimulation it's supposed to deliver (or invoke the memory of) could be lost to viewers. The 13-minute film could indeed be watched in its entirety within this work (inside the room mentioned below), but one may argue that's not the correct order you're supposed to perceive things.

Behind the backdrop shown in the picture below is a slice of room fitted like a living room of a tiny apartment, quite similar to the ones in A Peanut Worm's Dream. I did not take a photo of the room; despite what's behind the backdrop was indeed labelled as a part of the exhibition, it's put in a way that heavily reminded me of how certain exhibitions would board off things they don't necessarily want you to be able to see; filming what's behind thus feels forbidden or at least rude. I don't know if this is also a part of the intended effect, or it's simply because boarding off a corner of the tiny exhibition room is the only way to symbolically replicate the dark corridors in A Peanut Worm's Dream.

I have no comments on Kathy Tynan's paintings and Emily Waszak's installations. To me they're simply paintings and objects whose compositions are pleasant to look at, and I understood their narratives after reading the introduction text from the pamphlet. While the pamphlet mentioned Waszak's "Japanese heritage" - which I did see part of from the installation - I'm not well-versed enough to provide more comments on it, since Japan do have many different local traditions. I'm genuinely sorry about this part.

Potteries from Emily Waszak's work.

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