Sorcha Dallas

At first, it’s hard to get a handle on Cezary Bodzianowski’s work. In the two rooms of Sorcha Dallas’s gallery, the Polish artist presents you with two facets of the everyday: one a reflection of the public sphere, the second a double question about the private.

First, the public: in the small main gallery, a convex disc mirror – the kind found at the end of underground platforms – and a TV monitor are high on the wall. On the monitor, we see Glasgow tube train passengers at a variety of stations. Quickly you are fascinated: here are the moments in peoples’ lives when they forget others are watching. They go about their business. Drinking coffee, reading the paper, arriving on the platform to find the train door closed. What if you’re one of them, up there on screen? Caught where you shouldn’t be?

In the second room, a homely living room is mocked up, the viewer asked to mimic the man on the screen (pictured), dozing in an armchair as the TV blares. Another work projects a living room scene on a heavy curtain. The news flickers, the debate continues, but the scene is fuzzy and fragmented. ’ Is that all there is?’, it seems to ask.

Bodzianowski provides little in the way of answers, but that’s part of the appeal: the films repeat, and so do you, whether sat in front of the TV or running for that train.