inverse reflection 2017
A reflective maze; like an intuitive labyrinth of pathways; that we as individuals tread; while co-existing with our contextual and conditioned responses and with the traces of our selected memory.
Using a two way translucent mirror film designed to protect glass buildings from the outside elements, it challenges the line between perception and deception, the concept of who is watching or protecting whom and from what. Who is on the inside and who is left outside and which is which? Like glass or water it harbours the traces of memory; the marks of repetitive motion and the symbols of mankind on the move and ever increasing in numbers.
There is more than one way to look and evaluate any given situation.
2019 The Beaney Museum,
2017 The Arts Forum, Hastings
Take a cup from the stack, fill it with water, drink and as we cannot put the cup down, we throw the container away, leaving our own D.N.A. as a trace upon the plastic. This habitual and vital act of rehydration is repeated throughout the capitalist world.
The cyclical nature of this repetitious act mirrors the meteorological cycle: rain, which forms the vapour to form clouds, which in turn creates rain, with the D.N.A. of our human/plastic impact left on every raindrop.
Mailer invites the viewer, through touch, to add to the work. By taking a cup and adding the sellotape to it and then attaching it to another, there by leaving our fingerprints, perhaps accidentally reshaping the sculpture. This is progress is added to throughout the exhibition. Mailer deliberately risks the gradual deformation, perhaps destruction, of the sculpture before lifting the cones back: replicating the downward, and sometimes destructive, force of precipitation; leaving the viewer to consider the impact and accountability of our actions, our choices and ultimately the effect on our health and the environment.