Installation view, Kate Macgarry, London.  

Installation view, Kate Macgarry, London.  

Installation view, Temple Bar Gallery, Dublin.  

Installation view, Temple Bar Gallery, Dublin.  

Installation view, Temple Bar Gallery, Dublin.  

Installation view, Temple Bar Gallery, Dublin.  

Installation view, Temple Bar Gallery, Dublin.  

Installation view, Temple Bar Gallery, Dublin.  

Installation view, Temple Bar Gallery, Dublin.  

After Image (Gray and Bayer)
(2015)

Materials: Powder-coated perforated aluminum, piano hinges, vinyl, paint
Dimensions: variable

Room dividers, screens and curtains separate space and articulate the multiple, and always changing relationships between inside and outside, day and night, public and private. They contain and protect, and yet also reveal, frame, overlay, juxtapose. The screens of both Herbert Bayer and Eileen Gray function as spatial devices that have almost sculptural presence, here merged and unfolded through form, colour, scale, and surface. The idea of background also has a history, and developed for instance regarding its colour, in relation to the changing notion of neutrality. Only about 150 years ago most museums in Europe would take part in heated arguments in conferences, and publish extensive treatises on how best to exhibit art, arguing on exactly the same issues, notions and requirements as they do today, but in parallel to completely different devices and operations, like curtains and wallpapers, ceiling roses and decorative friezes. Green was for a long time the accepted standard colour for museum walls, normalised as far as today’s white is, but it had also been at some point in time red, and yellow.