||Through at this and that continues Callum Morton’s investigations into large-scale urban structures, reconstructed as maquettes, or miniatures. The project comprises 12 individual panels or screens presented effectively as a cul-de-sac or three walls of a square space. From the outside viewers are presented with the back of the work and the repetition of the structures themselves – a view that is occasionally ruptured by holes cut into the centre panels, affording views through to the adjacent works.
The stark white geometry of this armature recalls the early cubic sculptures of Sol Le Witt whilst inside the structure exposed through the image reminds one of the painter Sigmar Polke’s cut out windows frames. The plinths upon which the panels/screens are presented, foreground the painting’s support as sculptural, and create an illusion of enormous scale – despite the downsizing from real life vast structures.
As with previous projects – such as Outer Limits (2006), Lost in Bonkers (2007) and Amnesia #2 (2007) – we immediately recall drive-in cinema screens, a form of mass entertainment from the recent past that now persists as a nostalgic form of public space. This form allows Morton to conflate the status of the work as simultaneously painting, sculpture and installation all the while acknowledging the effect of the cinematic or moving image. In fact one could argue that many of these works picture the evidence or representation of projection as a static form without the presence of projected light or a moving image. Optical renderings of perspective that mine the history of Op Art and modernist graphics (Bridget Riley, Saul Bass), physical holes punching through a mirrored screen that reposit Gordon Matta Clark holes in graphic form, or that original conductor of reflected light, the eye here hovering between a series of abstract forms or comic illustrations.