Rob Chavasse’s practice disrupts and questions existing flows and networks within a given environment, temporarily hijacking objects and situations, and often utilising a dematerializing approach to explore the temporality of display. For the work at Frieze eight pallets of plasterboard have been diverted from their normal supply route and temporarily deposited in The Sunday Painter’s booth. The action and the work began before the fair opened, and will continue to function after it has closed. The eight plasterboard pallets (576 sheet) have come directly from the factory to Frieze, and will be picked up by the haulage company afterwards to continue their journey to the distributor, to be sold and dispersed around various construction sites. The work is in this action, the detour. A visitor to the fair sees the temporary ‘paused’ configuration of a 4×2 pallet stack, with the crates embedded into the work like strata. The material completely Fills the booth, turning it into an active depot.
The stack has received a shipping stamp of sorts, evidence of its passage through the fair, and a hacked and expanded version of the industrial printer process normally applied in the factory. The same ink as used by the factory embeds itself into the side of each board like a watermark. These marks cause no structural damage, the image becoming broken up as the boards become shuffled and functional. Each time the material slips away, and the print breaks down.
Although the display aspect of the work features a vastly physical object, the work ultimately exists in a form of non materiality as it disperses back into the system from which it came. However it also engages with the environment in which the viewer experiences it. The art fair plays an important role in the diversion as the work considers the economic mechanisms potentially at play – the stacks are wholly utilitarian and exempt from any speculative or asset driven considerations. Its price remains fixed as the artwork evaporates completely into functionality.