For his London debut, Robert Chavasse’s intervention has chosen to leave the world untouched and in a cheeky shove to the back, pushes you into his cropped viewing platform. Utilising the framing of a widescreen letterbox format, the familiar gallery layout of The Sunday Painter space has been reconfigured. The white walls that would ordinarily house work now become cinematic mattes that are brought into your line of sight. This work is not concerned with obscuring or censoring, these screens are merely a pair of brackets to momentarily slow down the busy sentence of everyday life. The white cube no longer acts as protective epidermis to invading contextual concerns but instead warmly invites them in. Of course, it does however, still ask that they wipe their feet before coming in.
Chavasse has often expressed concern about how much to show or how much to reveal with his installations. His works often exploit the trust or belief systems in place between the artist and audience. Deploying subtle alterations to existing architecture that act as escape hatches for the viewer’s imagination. Here though, there is no trickery. In an open show of hand you are asked merely to stop. Take time. And enjoy. This intervention is the frame for the city, in whatever rapidly mutating form it may come. The world is a big scary place but Chavasse is no control freak. This work is tuned into the pace of life, it does not dig it’s heals in and resist the flow but kicks back and asks you to join it for the ride.
Jamie Bracken Lobb