Summary
In 1984, Richard Wentworth produced a film that brought together the many still photographs he had taken since 1970. He explained the appeal of his modest subject matter in the following way: 'We become accustomed to natural patterns - the door and its doormat. When their positions are disrupted something fundamental happens (commonplaces such as the ruck-and-jam method of holding a door open with a mat). The displaced doormat has a new identity, a shift of an inch or two changes it from passive to active. Such adjustments invigorate tired and overlooked relationships, as the contradiction, humour and absurdity of the new alliance presents itself.'(Quoted in Richard Wentworth, exhibition catalogue, Lisson Gallery, London 1984.) It is precisely this aesthetic of aberrant normality that informs Wentworth's sculpture of the mid-1980s… (read more)
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