Conceptual artist Liam Gillick has unveiled his ambitious new exhibition, 'The Wood Way', at London's Whitechapel Gallery, marking his first significant solo show in Britain. The installation reimagines the gallery space, creating an immersive environment predominantly constructed from bare pine planking and striking, brightly coloured Plexiglas screens.
Upon entering, visitors are confronted by floor-to-ceiling wooden partitions, which, alongside the vibrant Plexiglas, create a structured yet visually engaging landscape. The use of pine evokes a sense of functional design, reminiscent of everyday objects from futon pallets to urban adventure playgrounds. However, this is contrasted sharply by the carefully arranged Plexiglas, which showcases Gillick's mastery of colour. These translucent panels, featuring acid orange, pink, and deep brown rectangles held by grey aluminium strips, introduce a dynamic and uplifting element, softening the austerity of the wood.
The exhibition's title, 'The Wood Way', is derived from the German word 'Holzweg', which literally means 'the wood way' but metaphorically refers to getting lost in the woods, or losing one's 'self'. Gillick applies this concept to the artistic journey and the viewer's experience, inviting contemplation on the often-tangential path from an idea to its execution. The artist has meticulously redesigned various areas of the Whitechapel, including the cafe and lecture hall, imbuing the entire space with a calm, ordered atmosphere.
Gillick's conceptual focus lies in the impact of public planned spaces on individuals. He aims to recreate and amplify the subtle sense of dislocation these environments often convey. He highlights that materials like Plexiglas and aluminium, common in the installation, are ubiquitous in modern life – from McDonald's signs and Prada display cases to aeroplane interiors and bank security screens – suggesting a subversive subtext that encourages viewers to consider the politics embedded within their everyday surroundings.
Furthering this exploration, large sections of text are displayed on the gallery's back walls, presented without punctuation or spacing. One notable excerpt is a line of poetry from B.F. Skinner's 1948 utopian novel, 'Walden 2'. This textual element, like much of Gillick's work, echoes the ethos of the late 1960s French Situationist movement, which sought to heighten public awareness of the political dimensions of daily existence and the liberating power of the printed word.