The tautological title of this exhibition, paired with the gallery extolling Lima’s practice as “category-defying”, cautions the visitor of some heavy abstraction ahead. Not without reason.
The artist turned the ground floor into a life-drawing studio. How radical, truly! The twist, as if another were needed, is that both the model and punters pose on mechanised platforms. They float akin to robot vacuum cleaners. Is this perspective-taking? If so, the whining, high-pitched noise of the floats’ brushless motors does all the work.
Upstairs, a beach umbrella dances to Brazilian beats. Looks fun, but it’s inconsequential. Next door, a commercial freezer keeps liquid tray sculptures solid; a pair of gloves invites limited, soft-play interaction.
Not much of anything in particular, then. Are these sampler vignettes of some larger, untold story? Fragments that may, when augmented, form a discernible thesis? Lima’s desire to phrase questions in philosophical jargon is obvious. It’s not even stupid. Yet it is less clear that she knows how her objects answer. Consequently, she leaves far too much for the viewer.
