Sorcha Dallas

It’s been a while since Craig Mulholland exhibited in Glasgow. Normally this means an outpouring, a massive amount of new work in sculpture, painting, drawing, often in more than one location.

This time the main exhibition is in the Art School’s Mackintosh Gallery, supplemented by another at Sorcha Dallas. Mulholland has again worked with metal. He scores it (inmore ways than one), cuffs it, bends it to his will. Night Shift, the first work encountered in the Mackintosh Gallery, is a large aluminium plate etched with lines; it is black, ominous and foreboding, rather like the monolith from Kubricks 2001 etched with a gnomic diagram.

Nearby a series of sculptures is arranged like a small orchestra (pictured) hunched over scores, each of which is another etched plate, rich in angular detail.

They seem to be conspiring, as if their ‘scores’ are coded instructions. Mulholland’s obsession with such transfers of information – the politics of it, the technology, the possibilities of interruption and corruption – is infectious. Like a surreptitious computer virus, it slips inside; and like a virus it messes with the established order.