The work in Paul Mosse’s retrospective at VISUAL shows that the artist is still deeply motivated, writes Mic Moroney
Threaded through VISUAL’s cathedral-like halls, Paul Mosse’s mesmerising, 50-year retrospective, ‘What’s with the Apocalypse?’ triggers a riot of responses. Bemusement shades into perplexity, bafflement into hilarity, fascination into violent unease, as the detail of Mosse’s charmed organic forms reveal their toxic payload; blowtorched foams and plastics; charred and reeking plywood, like debris tumbling off Grenfell tower. The imposing wall-piece Carglass is a compacted collision of wood, metal, shattered windscreen and perspex; while others exhale a cataclysmic squalor, from the literally mouldy Body Farm to the gargantuan The Floor, its eviscerated timber and undercarpet sagging calamitously over its massive stanchion.
Stephanie McBride reflects on the extraordinary life’s work of Arthur Fields, the last of the street photographers
All around the globe, conflicts have and continue to shape the land and their inhabitants’; Elizabeth Magill explores the flipside of the buccolic in conversation with Brian McAvera.