Brian Griffiths presents at Breeder new sculptural works that continue to reanimate the past or the past’s versions of the future. Using the pull between everyday objects and their constructed collective fictions Griffiths lightly produces atmospheric works with a deadpan theatricality and melancholy. He repeatedly asks for the viewer to believe, to suspend disbelief and come along for the ride however absurd the journey.
For the exhibition Griffiths shows a large monumental scale façade of building from wooden furniture and trinkets from around the world. It is a structure of interlocking warm toned wooden panels that layer to create architectural details and a redundant archway. The work suggests a sense of an event slipping between the Gothic, ritualistic magic and the historical significant.
Down stairs is a time leap into a different period into another fictional world. A number of workstations reminiscent of science fiction props from the 1950/60’s made from plastic household materials and cardboard. It is take on the promise of human progress through technology and a wish to make drama and adventure from the grind of everyday existence.
With this work it prioritizes experience and generously engages the audience without inhibition. For this show, the gallery becomes the straightman Griffiths’ work is the comic. However, with this it is important that the work never smiles too much, like Charlie Chaplin Griffiths realizes that to position the viewer, to make them engage with the work, with larger cultural debates it is best to seem oblivious and of course this makes the punch line funnier.