Image 1 to 5: Title: Strangely Familiar Shades of Gray. Medium: Giclée print on Summerset paper
Walsh’s work demystifies the monumentality of architecture. Rather than attempt a recreation of Eileen Gray’s work, Walsh’s work explores the myth Gray leaves behind by photographing found packaging. Questioning our curiosity and desire for real encounters with authentic objects, Walsh uses the constructed language of the photographic image; these images and objects relate to the lost and unrecorded spaces made by Eileen Gray (her studio work, Tempe à Pialle and E1027). They allude to Gray’s simple appearing, space-saving systems, her sliding walls and windows which appear or disappear as necessary; her concealed cupboards, and hidden staircases. Everything folded, unfolded, swiveled, extended or slotted in somewhere. Everything moved.
Furthermore Walsh’s work relates to how art is shown in museums, and the debate on the spectacularization of museum culture with the resultant immateriality of artworks. “The ideas in the materials like packaging and domestic bric-a-brac explore on some level how we think about architecture. The work is not meant to illustrate but rather to engender ideas of why and for whom the space is created, and contests how space is constructed. The constant dialogue between idea and object, and the layered investment of ideas in the objects are a continual negotiation…what happens in that gap between the object and their two-dimensional representation is full of promises and denials, of realities and unrealities. The photographs and objects are a deliberate exercise of improbability and possibility.”**
*Walsh interviewed by Rosie Bennett
**Walsh interviewed by Padraic E. Moore, Oonagh Young Gallery