Laura Buckley

Haroon Mirza Feat Richard ‘Kid’ Strange

Alan Stanners


Preview: 1 August 7 – 9pm

Exhibition: 2 – 17 August, Tue – Sun 12 – 5pm


Generator Projects presents a multifaceted exhibition exploring themes absorbed by the subversion of structure and its manifestation in the absence of realities, references existing for nobody and everybody in the same instance. This exhibition takes it’s title and context from Samuel Beckett’s first novel ‘More Pricks Than Kicks’, which charts the progressive joys of melancholy and the insights into an idiosyncratic world: magnifying nuances to their rightful importance through tenacious accounts of liaising with materials.


Laura Buckley’s work translates itself through ambiguous structural and material means, whilst exposing the processes of making and presenting work. Utilizing shrouded points of separation and overlap, studio activities are contrasted with real life events. In multi-layered referential conversations between component materials, Buckley uses the devices of kinetic sculptural installation and video projection to question art and illusion, reality and perception.


Transcending the obscure boundaries between noise, sound and music Haroon Mirza creates complex assemblages with lo-fi attributes. By reconfiguring familiar household and electrical equipment Mirza constructs installations that produce different layers of sound in order to compose ‘music’. Isolating the shift in auditory focus, he pinpoints moments where noise is perceived as sound and sound is perceived as music. The new work that Mirza has created for ‘More Pricks Than Kicks’ is in collaboration with Richard Strange, an actor and musician who will be performing on the opening night.


Stanners’ new paintings, created for “More Pricks than Kicks”, take place on glass painting palettes, where the image is mixed and realised on the same surface. The works imply an impossibility calamitously trapped within a discourse. ‘Greenhouse Airplane Trap’, 2008, pictures a disturbance within the picture, which feels far too close to the viewer. As the title suggests, an external view is ridiculously transformed into an internal one. These works are made up of the layering of gestural splattered marks in dialogue with concentrated re-evaluation, allowing the paint to come to the fore. This throwing back of the medium in the face of the viewer might be Dadaistic in tendency: a symbolic action against the embodiment of historic conditions within the present, or this might be the inhabiting of those conditions of the present as it is found within the medium of painting. In either case the monstrous character of surrealist estrangement is more likely to be found in the de-centered, inter subjective condition of painting than via direct confrontation with its motifs and symbols.