A first impression of David McNabs large scale art-work might be one a childlike arrangement of plastic toys or plastic objects. Playing with knowing where to put things. But then you might notice that there is a relationship between the objects other than just how they they have been placed. Further inspection reveals the possibility of something much deeper and more considered. Unless I’m mistaken some of these three hundred or so beachcombed, found objects resemble contraceptive devices and sex aids or toys. And not just a few of them either, a large percentage. Once I’ve noticed/ imagined this link I start to see more of this kind of association. More of them, all over. Interspersed with fine line white chalk drawings on dark blue paper, fine drawings, of, tiny sea-creatures? Then more coils, caps, small plastic phallic forms?
Although this is starting to concern me, its very enjoyable, as a whole thing, an installation. I go for a walk around the piece and there seem to be other links. Deeper undertones referncing the beauty and sublime power of the known and unknown life forms of the vast oceans. Its incredible depths, unknown darknesses, beauties, mysteries and most of all I sense the lessons to be learned from it. A chance to stand back and view our own relationships with the earth? Complicated, over populated some times difficult relationships with nature and the animal world. Through McNabs piece, rightly or wrongly I found a new way of looking at things. So what would the simple, basic needs of these so called ‘un-intelligent’ plastic, still, life forms that have been presented for us to spectate, be? I can only ‘say’ or suppose; sex, birth, food, life, death. Basic cycles. McNab presents a mock up world of harmony, beauty and peacefull tranquility. Symbiosis and the sequestration of CO2 by these tiny life forms. Just going about there buisness reproducing themselves, then falling to the ocean floor – unseen – but sequestering carbon- for us – in so much as they do. At the same time their population controlled by predators, also somewhere near to the bottom of the food chain. The beautifull simplicity of these relationships and environments, largely uncomplicated. Largely unnoticed.
Unlike our own species, these life forms of the oceans appear to have evolved and found their own bold balance, in harmony with their environments. Many millions are born and many will not survive ‘cept to fullfill their part in the larger picture as a vital part of the system. But myriad life forms continue to thrive, in their own beautifull ways, at their own timescales with the most basic of needs.
The use of the showroom space, the large atrium and entrance hall echo this Jules Verne/ James Lovelock world and invites the viewer to further. To meet and talk to the artist is an experience in itself… You may be abducted and taken into a lift. Taken from floor to floor until quite disoriontated, unsure of your surroundings as he reads to you tales relating to shipwreck or the claustrophobic life of the submariner. Up, down, down, down, up, you are in a strange building, you dont know which floor you are on. It is a small lift. How long will this last? You can’t see which numbers he is pressing as he stands infront of the control panel. He is reading to you out loud and has instructed you to read silently along, with him. Again he is in control. The lift is very small and there are four other people in there with you, pressing against you, invading your personal space. The lighting is low powered, it flickers, orange, dim. The space is very warm and you are dressed in winter clothes. Too tight a space to remove your coat. He stops the lift and you may be given a small paper origami sea creature to take away. Like a good child. Again he is control, you do as you are told. “What are we supposed to do with it?” I stupidly ask. “Are we supposed to open it up?”
“Do whatever you want with it” He says - he thanks us for coming – and we are dismissed. The many different viewpoints of the exhibition space, and its clever use allow either a high up virtigeneous viewpoint, looking straight downward from atop the work. Or a close up, ground level exploration. Eyes level with the top of the water we have a different viewpoint. But are we any cleverer?
I found the paper sea-creature later that evening in my coat pocket. And I got round to thinking about the contemporary atmosphere, the population explosion, the current economic climate, foriegn affairs, and how much simpler things must be in that half light, dark subterranean landscape.
A simple, playful arrangement of small plastic and coloured rubber forms. A handfull of simple chalk line drawings. Perhaps dealing with incredibly deep, important issues. A coincidence maybe. Maybe I could be wrong about these metaphors and visual ciphers. Reading too much into it. Or maybe it really is there to be learnt from.
Either way, McNab produced a beautifull and thought provoking art-work.
Watch out for work by David McNab and many others at the upcoming - MA Contemporary Art shows 2010 from the Students at Sheffield Hallam University.
