Generator proudly presents: WHAT REMAINS, featuring Hans K. Clausen and Kim W. Wilson.

The exhibition brings together two artists who work directly with industrial and domestic by-products of human activity.

Hans K Clausen engages with urban detritus and the visual language of the city. He suggests ideas of consumption and consumerism inherent in material culture, collecting lost and forgotten singular gloves, converting disused vending machines, and using the motif of a skip.

Labour and industry is evident in Kim W. Wilson’s work, using reductive methods such as extraction, drying and incineration, compressing and reconstituting matter. She works with natural or processed materials that possess their own pre-histories and histories of transformation. These include visceral substances such as wool grease, bone oil, peat and bone ash, bovine gelatine and oil-shale waste.

Together the works evoke rich layers of land mass, presenting and reappropriating residues of human interaction with the material world. Hans and Kim are both based in Edinburgh and have exhibited widely in the UK.

Preview: 27th March

Continues: 28th March – 19th April THURS-SUN, 12-5pm

Or by Appointment

Artist Talk: Wednesday 15th April, 7-9pm

//// Summerhall TV interviewed both artists in their studios and filmed the exhibition at Generator

//// 4 star review in the Skinny Magazine


Literally off-kilter, Hans K. Clausen sets the tone of What Remains with a skip hanging at a strange angle in middle of Generator’s exhibition space. Skilfully made of cardboard, it’s without effacement, sudden and interjecting. While Clausen’s objects often have some obvious textural or surface interest, whether made or midge raked, it’s of a secondary importance to the generation of a kind of unmediated and not completely uncanny encounter.

On the wall nearby and into the next room, Kim W. Wilson presents sculptural drawings by mashing and grinding bone-ash and oil-shale waste into goldenrod gridded paper. Something like impasto painting, and just as scatalogical, they’re thick but not overwrought. While the material sits heavily on the paper, they feel quick and delicate. The material is impressed on the paper without any sense of brute force.

Behind Clausen’s skip (titled The Full 8 Yards), there is From Edinburgh With Glove. Along the back corner of the space, Clausen has pinned over 1000 gloves, loosely grouped together by colour. Though wall-mounted, the effect is to sensually alter the space directly before the piece. There’s a delicate muffling of sound, an absenting of the usual corner reverberations. And after being picked from various pavements between Edinburgh and Dundee, there’s a kind of intensified second-hand clothes-shop musk. It’s soft, dirty and strangely comforting.

Without much processing, Clausen hangs and pins his found objects and very literal figurative sculpture, while Wilson presents by-products of industry in their crude form.They interfere only so much with their inelegant materials. Yet this isn’t a celebration of garbage, and stops short before becoming a provocation. Rather than a trite subversion of ugly and attractive, What Remains is a sophisticated deployment of the force of imposition.