ÀhhÁ

2017, arebyteLASER, London

IMAGES COURTESY LUKA RADEK

Modern living finds us presently manoeuvring through a landscape where information passes at infinite speed and as spectators we feverishly chase experiences to ‘snap’ and post on the interweb or save in clouds. This acceleration in technological growth also means that glasses can be donned and we can traverse a 2D form like that of a painting. But how does it all feel?  Massey argue’s that this automation negates the human senses.  She is therefore offering ÀhhÁ as an example of what could happen if you were able to physically enter her nature morte and drink its offerings, listen to its wallpaper and sidestep the tablecloth.     

The present climate is contactless.  Less so in ÀhhÁ

ÀhhÁ was the last in Massey’s #mamconcurs series. This catalogue of works seeks to document, question and subvert women’s depiction in art history.  ÀhhÁ was a loose reinterpretation of David Hockney’s Seated woman being served tea by standing companion (1963). As Massey’s fondest memories of having a ‘cuppa’ were after school, in front of the TV with her gran-she used a Byker Grove inspired palette to discuss the aforementioned.  Motifs within the initial painting therefore touch upon the opening credits of this regional soap. 

ÀhhÁ was an immersive installation and solo show as part of arebyteLASER’s 2017 programme Hotel Generation – a series of exhibitions by a generation of young artists from around the UK, all responding to either contemporary Ordinaryism, information overload, collective practice or reacting to the ‘extreme present’.