Ryan Gander

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© The Artist and Lisson Gallery
'Tell my mother not to worry (ii)', 2012 by Ryan Gander

Oh look, how clever – he has sculpted a tiny wooden macaroon. A child's den of bed sheets is memorialised in marble, and there is a huge shiny metal ball blocking off one room. A black curtain pulls back to reveal only a wall, and a secret display case frosts over before you can get close enough to see its contents. Instantly gratifying and surprising, Ryan Gander's deceptively simple interventions are consistently playful, but this new body of work suggests that the artist's scope has widened and his attention scattered.

Gander's practice invokes chance encounters and loose associations, continuing the gameplaying of the surrealists. 'The Way Things Collide' juxtaposes a chest of drawers with a used condom, although both are carved out of the same block of birch. Four wall-hung 'Associative Ghost Templates' layer together Perspex sheets, drawing immediate parallels with Duchamp's 'The Large Glass', a work famously full of ejaculatory puns. These translucent frames feature cutouts in the shape of tickets, photos and other documents, perhaps suggesting this paperwork is the titular 'fallout' of our lives.

For a rather more wicked work, Gander has installed two tiny electronic switches behind the gallery's front desk, one labelled 'Guns' and the other 'Bombs'. Engaging with ideas of choice, imagination and temptation, this is a fitting coda for these newly introspective works in which Gander addresses the persistent and omnipresent nature of aesthetic decision-making.

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