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Exhibition Dates: 3 to 27 FEB 2016
Private View: 2 FEB 2016,  6:30 to 8:30PM

Gallery: ARTHOUSE1, 45 Grange Road, London, SE1 3BH
Gallery Hours: Thursday to Sunday, 3 to 7PM, or by appointment

For Richard Ducker the authentic self is constantly in a state of flux existing somewhere between fabrication
and erasure, reality and myth. As an extension of autobiography in a symbiotic dependency with the work, it is in
constant competition with itself. Displaced, memory falls out of sync in a collapse of the present into the past.
Language becomes an alien form while sculpture performs as a prop on the set of a sci-fi metaphor. The
gallery has been taken over by an alien presence. There is a slippage in the space-time fabric. Scattered about
the floor dumb boulders are linked together by piping, as if breathing or communicating, while a family of aliens
disguised as abstract sculptures look on. Inserted between is a strange experiment with unclear intentions.
Contact is attempted.

The conduit, the receiver, the prism through which time fragments, is geometric and translucent. It is a rotating
philosopher’s stone, through which another authorial voice is revealed: a past lives reading of the artist*. This
sound-piece accompanies a small double self-portrait of the artist as a young boy hanging on an adjacent wall.
There is nothing remarkable about the image – it could have been any young boy from anytime between the
1930s and the 1970s. It is out of time, a disjuncture, a nostalgia that fascinates, where the implications of the
specific collide with a past that is constructed from history lessons, television, and cinema. Contact is

Connecting these discrete elements is a wall text. However, the words are untrustworthy, devious, and are out
to mislead. Unspecified surveillance permeates the spliced extracts from the writings of the ‘Heavens Gate’
cult, and ‘clippings’ from the artist’s own spam box and Facebook feed. Barely readable through lack of
punctuation, it offers a glimpse into the overload of a repressed economy, the collapse of privacy, and its
corollary, the conspiracy theory’s paranoiac escapism. Contact is attempted.

These elastic narratives within the autobiographical, of adopted memories and constructed myths, are locked
into a spectacle of theatrical interplay. The sculptural object as staged prop, the linguistic deficit, and the
curatorial directive of the private, all contribute to this brackish movement of history as fiction, rendering the
present unstable and imprecise. With recall and displacement having their effect, it is the sense of ‘wrong
place, wrong time' that prevails.  Contact failed.

*Past lives reading by Michelle Hawcroft recorded at the College of Psychic Studies.

Richard Ducker has exhibited widely throughout the UK and internationally, including the following: Kettles
Yard, Cambridge; Serpentine Gallery; Royal Academy,  Edinburgh; Mappin Gallery,  Sheffield;  The Kitchen,  
New York; The Yard Gallery, Nottingham; Katherine E Nash Gallery, Minnesota, USA; Flowers Central; Cell
Project Space; Standpoint Gallery; CGP; Anthony Reynolds Gallery; Angus-Hughes Gallery, Coleman Projects;
and dalla Rosa Gallery. Richard Ducker also curates under the name of Fieldgate Gallery, which he founded in
2006.  Further information on Richard Ducker can found at