Sorcha Dallas

Julian Gothe makes work informed by glorious, glamorous 1930s film sets, the idiosyncratic high luxury of a certain stripe of Modernist design drawing on the uselessness, the menace and the threat, the daft and the uncanny. ‘Ian into certain periods of objects,’ Gothe admits, ‘the very eccentric modernist stuff that came up in the 50s and 60s, not something like Charles Eames, but some decorateur, as they say in French.’

In the past, he has made multi-angled folded paper constructions, and spindly metal frames topped with bouffant plumes of rouched chiffon- forms that straddle and odd boundary between home furnishings and fantastical creatures, poised to pounce. ‘For me,’ says Gothe, ‘it is all about the moment when objects become creature-like.’

For this show of new work, Gothe is set to explore further a recent shift in his practice, incorporating found objects into his peculiar vignettes. ‘I was doing some small work recently with a shelf I found,’ Gothe explains. ‘It opened an avenue for me, a new direction. For this show, one of the three objects involves a found piece of furniture, combined with paper relief works placed into a cabinet.’

The remaining two continue in the theme of off-glamour, featuring backlit mirrors. ‘This combination of objects is about something difficult, maybe even dangerous, but always with different levels of seriousness- is this art or is this decoration?’