29 Bell St.
Graham Gussin's new work deals with notions of the uncanny and the sublime, a recurring theme in much of his practice. Gussin uses film as material and reference and is interested in how filmic images and ideas spill out into reality and occupy space in our subconscious. In Dark Light Piece (Texas Chainsaw Massacre Mobile), 2003 he constructs a simple mobile, using incidental pastoral landscape stills from the seminal horror classic. The mobile itself becomes a literal play on suspension, floating above us like a cloud, its dark subject matter in stark contrast to its decorative form. Spiral, 2003 is a continuous icy white neon spiral of words running one into the other that plays on the notion of perceived 'conditions' and psychological states. 'Unknown'; 'vague'; and 'unsure' are adjectives that trigger atavistic and familiar emotional responses and yet are also imply a state of non-existence. Doppelganger, 2003 investigates ideas of repetition and circularity whereby the artist attempts to see through the eyes of someone else. In 2001 Gussin advertised for a volunteer or 'doppelganger' to replicate exactly a trip made to Iceland in 2000. While Gussin was in London, his doppelganger was to experience, as closely as possible, events that had taken place a year before. The viewer too is intrinsic to the work and inevitably becomes the doppelganger as he or she follows the logic of the work. Again this embodies themes of the visible and invisible, becoming a complex visual trap.