I realise I’m unashamedly breaking all the rules by singling out one artist from a group show, but perhaps this act will rightly serve to focus the requisite attention upon this talented Russian artist. The show’s curatorial conceit is to bring attention to each artist’s creative process in an attempt to draw out the duration of this questioning for the viewer: slowing time, causing us to inhabit artistic processes ourselves, in a quest to ensure that each participating artist gets more than the usual, pejorative seven seconds.

I am rebelliously derailing this injunction by giving my full attention to one man’s work. In spite of the request of this sleek art space (complete with door staff) I suggest that although the press release presents us with something mildly interesting in itself, it can only ever be the after effect of a translation of visual outcomes into wordy description. Certainly viewers can in no way be expected to anticipate what stands before them when they enter the gallery’s basement.

And this is because Dashi Namdakov makes sculptures that possess the power to simply astound.

But, I hear you say, how can this be possible in this age of ‘seen everything, been there, done that’ ? And get this: the best bit about Dashi’s output, is that this question is actually provoked, and reanimated, by the actual artwork itself. The question being the same as that which the exhibition itself poses, namely: in what aspect of Namdakov’s process does “The Art of Creating” lie?

To come close to working out the HOW of this, you really must venture forth to Bond Street, my dear viewer. After you’ve emerged from the gallery, with Dashi’s imagery imprinted on your retina, we’d love to get your feedback, as we will be looking at his work and approach in more detail very soon. Showing until 27th April, NOT TO BE MISSED!


Guest Contributor Jenny Jones writes for Londonart.co.uk

About Yewande Okuleye

Cultural Historian|Londoner
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