WAVE: Feigning Intimacy



The debut show of WAVE Collective comprises the work of its founding four female artists, centred around the concept of love. This is the first answer to a question of ‘Feigning Intimacy’, where each artists’ thoughts and feelings careen throughout the space synchronistically, leaving us feeling snapped-off at the recurrent impermanence of love; respiratory centres heaving. 


This iteration openly pairs love with responsibility, in doing so questioning its scalability. Viewers are reminded peer-to-peer, that what you do with your responsibility is your responsibility – irrespective of whether you are given it or are taking it.  Addressing the open oneness of love as a universality forces the artists to bear all in criticism and comment. This is especially poignant in the work’s subjects where a very unique blur of primary and secondary narcism is established, which questions the obliquity of the implied freudian slip.


Curatorially and titularly exploring the ‘ontology of love’ may only be achieved through a hyperreal approach. As with the use of literation to figuration and back again, it is the insinuated literality of the idyllic model of love reinforced in the media and novella which is so often clearly figurative – that allows the real (literal) rawness of this exhibition on ‘love’ to function as refreshing. The saturation of the market in this case allows for such a niche to exist. This epithet of a contemporary love is impossible to grasp using logic, meaning to understand its complexity, it must be afforded incoherence to operate. To fully understand, take a mental backwards step to experience the inner disembodied voice of the work followed by a step toward the artists themselves. At this stage it is critical for both artist and audience to communicate, voicing details of the relationships within the work, adding volume to the accompanying texts. Ultimately, the artist’s choice to give voice to their subject remains just that; with the right choice being subject to moral erosion over time. Fortunately, communication and shared understanding is made easier by the unapologetic and sweeping totality of the overarching topic.  


It is the dichotomy of the intentional and unintentional that argues with the direction of the work. Whether the artists’ completed works are confined to the past through the temporality of love or whether - as audience - their muses will become ours too, is as close as the work gets to a soap opera cliffhanger (not at all). The artists show a dumb but gorgeous slip, allowing us to appreciate love itself, when and during the literalisation of shared scenes affords them a grubby tangibility, forcing them into hyperreality; excessive and grotesque in their beauty. 


The artists have demonstrated a deep-rooted confidence, coalescent with an innate drive to create. I look forward towards experiencing them working through and further exploring notions of intersectionality in their future works.