“Just down there…”
shown at Iain Irving Projects, Greenwards, by Hatton, Aberdeenshire, September/October 1996.
“Just down there…” involved a series of new works comprising of clusters of small paintings cum photographs which deploy and manipulate images grabbed from ordinary scenes and situations.
Angus Hood’s first solo show is ‘Just Down There…” The phrase is the title of his exhibition; more than that it describes the essence of his show and the location of it too.
Hood’s new work comprises clusters of small paintings cum photographs which deploy and manipulate images grabbed from ordinary scenes and situations. These places and circumstances may be nominal – there might be nothing going on. And yet these small canvases read like a code that needs to be cracked or evidence which connects to a crime. The pictures are juxtaposed with one another in groups. They mix with each other like cuttings on a pin board or messages to clients in the lobby of a seedy hotel. Some of these tiny works are of nothing but colour-a shadow perhaps, or a blue sky. Others are of blurred photographs, of people, of patterns and logos, or of a small swatch or sample of a fabric. Hood’s images are of things you might sometimes see up close and sometimes far away. You might have glimpsed them out of the comer of your eye or in the glare of oncoming lights. Sometimes you might not be sure what you are looking at, what you have seen or what you are trying to remember. Sometimes, like a tune which you can’t forget, an image stays with you forever.
Hood gives us information for ‘Just Down There…” It’s a direction which might describe the location of this show: in a rural gallery “in the middle of nowhere – down a dirt track, turn left round the side of some farm buildings – you can’t miss it (it’s just down there…). It’s a direction which describes Hood’s work: read that sign. follow that lead, find that clue, watch out for that red herring – dare to stray from what you think is your path and dare to trust in a new one. By your actions you might suffer dire consequences. But alternatively you might find something else.
text from ‘Flash Art’, ‘Reviews’, ‘Angus Hood’, page 101, January/February 1998.