Toby Christian's work probes into the taken-for-granted of art making and art display. In his works, a plaster growth expands from underneath an empty plinth, almost toppling it over; a series of tilted monochromes becomes a dynamic bas-relief and the smooth surface of the white cube is pinched, as if to question the validity and veracity of this so-called ideal exhibition space. Never departing from his sharp wit, Christian goes back to sculpture's fundamental issues: the relationship between matter and space, the link between material and intention, and the relevance of contemporary creation versus art history's overwhelming heritage.
Intriguing and poetical, each work is an open proposition, an almost affectionate take on the possibilities of the sculptural object. An intricate network of connections exists between his works. In his 'Block' series of installations, a shiny surface protrudes through a doorway, seemingly belonging to a gargantuan bubble that fills the room. The bright red 'Buoy' (2008) appears at first to be counter to the image of weight of the 'Block' works, but it is in fact pinned down to the floor by the mass of its bronze body; the sense of historicity of bronze - used for sculpture since antiquity and before - echoes 'Finger' (2008) which could have been smashed off an ancient Roman sculpture.
Like a stagehand manipulates props on a theatre stage to modify and rebuild the illusion of the set, Christian's work both unwraps and fuels the mythology associated with sculpture.
Coline Milliard: Why did you feel the need to do a solo show? What do you want to say?
Toby Christian: I suppose I wanted to be more in control of what's in the space. It's interesting trying to deal with the idea of supposedly presenting yourself for the first time, it's like saying 'I'm here! But then you have to go 'And here! Er... and here!' Something like that...
C.M: In your work, the plinth is often disturbed by the sculpture itself. You are using an ultra-traditional way of showing art and then completely undermine it by the sculpture. How do you envisage the plinth-object relationship? Do you think the plinth validates the artwork?
T.C: I don't know if it validates it. Probably the whole institution - the walls and the flyers and the people working there - they all have this validating role. But I don't know if art needs validating... Plinths are supposed to be invisible but they are also like sculptures. I often look at the display mechanism before I look at the work, but on-the-whole, you are not supposed to look at it, it's like the walls, you are not supposed to look at where the paintings go... I'm interested in things that are supposed to be invisible.
C.M: Do you see your work as a kind of critique of that super standardized framework for artwork, or is it more a kind of playful interaction with it?
T.C: It's probably both... It's quite childish - or more childlike, hopefully. I was talking to someone the other day about being knowingly naive... My illusions are dead illusions, they are obviously not what they pretend to be. I mean, it's obvious that you can't squidge a wall. It's kind of going, why do you want it to be magic? Why would you want to be able to do this?
Toby Christian lives and works in London. Recent exhibitions include: You Know I Know He Knows We Know - New Art From London, Aeroplastics Contemporary, 2008, Brussels, Belgium; Presque Rien II curated by Gavin Turk and Cedric Christie, Laure Genillard Gallery, London, 2008; Heart of Glass, curated by Paul Hitchman and Flora Fairbairn, Shoreditch Town Hall, London, 2008; Yellow Freight, Fold Gallery, London, 2008; New Acquisitions/St Ives to Saatchi, Caroline Wiseman Modern and Contemporary, 2008, ArtFutures 2008, Bloomberg Space, London, 2008; 4 New Sensations, curated by Rebecca Wilson, The Saatchi Gallery in association with Channel 4, London, 2007 and Deserter, Gallery 33, Berlin, 2007. Toby Christian graduated from Wimbledon College of Art in 2007 and won The Noble Sculpture Prize in 2008.
'Water', a limited-edition of 40 screen prints by Toby Christian is published by Fold Gallery to coincide with the exhibition.
New and Used Pianos, will be launched during the opening of STAGE HANDS. The 48-page publication includes texts by Coline Milliard, Tania Kovats, and a conversation between Brian Griffiths and Toby Christian. Designed by Tom Merrell.
Toby Christian: Stage Hands
Until 14 June
Fold Gallery London Ltd
32 Fortescue Avenue
London E8 3QB
T+44 (0)208 985 3590
OPEN: Friday To Sunday / 12 - 6pm or by Appointment
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