In conversation with Gabriel Kidd
Join Roy Claire Potter in conversation with solo artist Gabriel Kidd on the occasion or their solo exhibition at HOME, I found the giant and he was dead. They will discuss the themes explored in Kidd’s exhibition and Potter’s book The Wastes, as well as converging interests in their broader practices.
About Roy Claire Potter:
Roy Claire Potter is an artist writer who performs, exhibits and publishes. They are the author of The Wastes (Book Works, 2024) a 'gently experimental' novel about travel, grief and incidental encounters set in the North of England. Later this year with Liverpool Biennial they will present COMMS FAIL, an iterative artwork concerned with communications technology, celestial interference and autistic perspectives on communication.
They often collaborate with musicians and sound artists for radio broadcast and music festivals. Across the wide range of their work that includes drawing, installation, experimental art writing, vocal performance and moving image, Roy tells stories built from fragmented, intense images that depict moving bodies or domestic scenes and architectural settings.
Roy’s interest in communication constraints, subtext and narrative sequencing is felt in the way they use fast-paced talking or reading speeds and restricted or partial views of space. Complicated social or group dynamics and the aftermath of violent events are common themes in Roy’s work, and are usually treated with a dark, sometimes wilful humour.
About the exhibition:
Gabriel Kidd’s new immersive exhibition at HOME incorporates soundwork and figurative sculpture made from silk, wool, latex and Japanese paper. Using queer tactics of parody, the work is inspired by local folktale, landscape, and medieval notions of time.
The relationship between interior and exterior worlds is explored, through the reimagined tale of two giants, Alderman and Alphin from the valley of Greenfield, Saddleworth. Figures convey gestures and signals performed in gay cruising culture, the poised, slouched, or side–lying, they invoke a knowing desire, blurring a sense of individuality, empowerment, and destruction.
