Kiron Robinson: Mary, Mary

Sarah Scout Presents is delighted to announce Mary, Mary, an exhibition of new photographic works by Kiron Robinson, and the fifth solo presentation by the artist at the gallery. Mary, Mary comprises three discrete projects, each the result of Robinson's continued thinking through the 'problems' of doubt, faith, desire, collapse—particularly as these concepts might be considered through the photographic. 

For the 56-part Mary, Mary, Robinson has rephotographed imagery sourced from fashion magazines—specifically, an advertisement in Polish Vogue featuring Margot Robbie for Chanel—in various indeterminate contexts, throwing the meaning of both images and, by extension, the things they 'document' into question. The work, though clearly speaking to desire, conveys a sense of unease with its disconcerting absence of narrative, a tension that is further heightened by the various colour spectrums that have been allowed to stain the photographs during the darkroom printing process.

Flowers 1-16 also incorporates found imagery though, in this case, it's an image taken by friend and fellow artist Aaron Rees. More precisely, it's the negative of Ree's image that Robinson utlises, producing sixteen variations—again, in the darkroom—images that are created as much through feel as design. 

Omelettes provides something of a disruption, both to the process, but also to the installation. Images made by scanning an egg yolk on a flatbed scanner have been pierced by steel spikes and placed on the gallery floor. While Omelettes might appear unrelated to the framed photographic works, Mary, Mary as a whole continues Robinson's interest in destabilising the pictorial aspect of the photograph and his desire to break through, or get back to the surface of an image.