Statement 016/365

16th January 2015 Critique ( Graham Erickson )

“Other languages have words which describe and denote the emotion between happy and sad. Likewise, there is a word to define the taste that occurs between sweet, savoury and bitter. Such a language might well be suited to describing the strange drama of JAMESPLUMB.

Design seems too clinical and formulated a word to describe what they do. Alchemy feels more appropriate to the darkly exquisite vision they pursue. They create an intriguing and ominous form. However unorthodox, the fundamental beauty of their work is never compromised.

Looking at the objects and places they form it is difficult to imagine any process that leads to an existence. It is easier to imagine that these are forms which have been unearthed or trawled from the underground rivers of London. The line and surfaces of their work are distilled. Organic form is interrupted by errant geometry. It carries the disturbing charge of an imaginary collision of Man Ray, Giacometti and David Lynch.

Rooms that look, and feel, like sacred altars for the worship of enigmatic allure. Objects and pieces of furniture are captivating with a powerful sense of ritual and invocation.

Their work is best viewed as art with a purpose. To view the work provokes imaginative curiosity. To use, or engage with it, is a sublime and rare pleasure.

They use shadow as a material. Indeed, it could be said that shadow is their signature. As LaMonte Young and the New York avant garde used electric feedback as a musical instrument so do JAMESPLUMB control shadow as a creative fabric.

Unusually, as the production values are raised the work is becoming braver and more challenging. JAMESPLUMB is an evolving creature.”