Adam Shiu-Yang Shaw draws from an archive of photographs he has built up over the years, cataloguing urban, industrial and vernacular architecture. The images in Neither Parts, nor Spares include photographs taken by the artist and his mother from the early 1980s to the present day.
Abb. oben: Neither Parts, nor Spares, 2022
They serve as the starting point for his sculptures, which appear like abstracted compositions of architectural details. In the BPA// space, Shaw fuses these elements by means of custom-made picture frames that formally relate to what is shown in them. Inkjet prints and photographic transfers merge with their fittings to form sculptural entities, which are in turn integrated into an expansive installation. The relationship between print and frame is equal as the works expand beyond their contours. Extending this method of reflection to the exhibition space itself, he responds to the peculiarities of the BPA// space by highlighting and transforming the existing spatial elements. Different types of wood, glass, concrete, plaster and found materials form a composition of cut-outs from documented angles that are copied, scaled and inserted elsewhere. The entire ensemble is accompanied by sound recordings of several walks orchestrated by Shaw through the southern districts and peripheral waterways of Berlin.
In his works, Shaw approaches questions of memory, remembering and archiving by quoting the surfaces shown, depicting parts of buildings or spatial details. In this way, he addresses the temporal relationship between fluctuating environments and their recollection.
17. September until 12. November 2022