Charlotte Prodger

On a wooden floor there is a metallic, textured box. The box has a round dent like pattern all over it. On top of the box, there are leaflets and brochures piled up next to each other.

In a long hall, with three glass domes on the ceiling, there is a long piece of fabric hung through the centre of the room. The fabric presents at the lesser than and greater than signs, facing each other and in different colours. The fabric has a rectangular grid like texture or print running throughput the fabric, with belts hanging off the bottom of each column.

On wooden floor, there is a trolley with a small monitor with an image of a dog with a collar on grass. Next to it in the ground is the control box for the monitor with 3 wires connected to the monitor. On the right side of the control box is a circular hole in the ground. It is small and lined with metal. Behind all this, is a wooden door with the roman numerical of 3.

There is a room, with paint chipping off on the right side, a chandelier hanging from circular glass dome on the ceiling. There are two staircases going down on both sides, and nests to them on a marble pedestal are two poles on each side. The floor ahead of the poles is wooden and has a small stand with wheels, carrying small television monitor, with an image of the mathematical greater than and lesser than sign.

In a room with a wooden floor, there are two trolley stands with monitors and two tripods with speakers on them. These stands have wired connected to two control boxes in the middle of the room, and some following to the front tight corner of the image. One of the monitors has the image of fingers holding a small blade.

McLellan Galleries

Charlotte Prodger’s installations and performances explore what happens to speech and other representations of the self as they metamorphose via time, space and various technological systems. For Glasgow International 2014, Prodger produces a new sculptural installation that expands her on-going enquiry into the contingency and intimacy of materials both physical and textual.

Audio and video play through equipment that is itself in possession of its own highly specific technological capacity, design history and subcultural aesthetics. In addition to this installation, Prodger constructs a new body of Perspex sculptures, which explore the material’s optical nature as both transparent and impenetrable.

Elements of display and design are rerouted alongside decontextualised narratives, to create an itinerant space of desire.

Thanks to Ewan and Pete at Touzie Tyke.

Commissioned by Glasgow International
Supported by Homecoming Scotland and Culture 2014