At the center of the exhibition stands Tower, composed of nine sides, each adorned with backlit silk paintings. Its vibrant interior is visible only in fleeting glimpses. Inside, the space is alive-richly coloured and theatrical-yet never seen directly.
In their second exhibition with the gallery, Goodchild and Smith present a new series of paintings and textile works, as well as their collaborative installation, Tower. Goodchild and Smith share a fascination with what lies just beyond reach. They are interested in exploring themes including, perception of consciousness, nature's cycles, and inevitability in their work.
Margaux Smith's new paintings reflect on historically recurring natural events, including floods, celestial phenomena, and shifting seasons. These cyclical events mirror Smith's painting process through the repeated addition and removal of paint. Heather Goodchild's elegiac paintings, depicting St. Anne's Anglican Church before and after the catastrophic fire of 2024 echo these cycles of destruction and regeneration. Both artists draw from ancient mythology, weaving themes and images from the past that offer a symbolic perspective on current events.
At the center of the exhibition stands Tower, composed of nine sides, each adorned with backlit silk paintings. Its vibrant interior is visible only in fleeting glimpses. Inside, the space is alive-richly coloured and theatrical-yet never seen directly.
The title of the exhibition is a contemporary translation of the Greek Moirae, the trio of fates that determine the beginning, duration and end of each human life. This sentiment is echoed in the flowers and landscapes that appear throughout the exhibition evoking the inevitability of change, death and renewal.
