Meathook

Year shows, especially inter-departmental ones, are in a difficult position from their conception. Unless there is an unusually homogenous group of students, it is unlikely that there will be an evident over-arching theme or set of concepts to be pondered upon by the viewer. This visual and conceptual jump from piece to piece is a challenge to anyone wanting to thoroughly grapple with the materials and subject matter of individual works; each piece is pushing their own agenda, and is surrounded by others doing the same.

It is a testament to the curators then, that Meathook remains mostly coherent and not too bewildering. Only in the sculpture court is there a curatorial rupture, the three dimensional sculptures becoming dwarfed by the dominance of two dimensional works as well as the surrounding architecture. This is not a fault of the curators, but an inevitable outcome of two dimensional works outweighing the sculptural more than two to one.

Moving to the upper floor, walls are blanketed with paintings where great displays of technical dexterity neighbour prosaic craftsmanship. There are intriguing and impressive works to be found here, it is unfortunate they so often neighbour the banal and inadequate in both content and form.

The installation spaces upstairs are superb, effectively closing off the main court and taking you somewhere more contemplative. Olivia Bennett’s projection mirrors the transition of environments perfectly; a quiet and speculative image of a kneeling girl, head bowed in the corner of a room, away from the bright lights and scotch-broth of paintings, provokes focus and reflection.

If there is a discernible theme of Meathook it is an avoidance of difficult and arresting subject matter. This is a generation that has ignored the much publicised contemporary trend of the confessional and sensationalist. What has it been replaced with? If the whole show were taken into account, it would seem hesitancy is the answer. But when the focus is narrowed to some individual works, a conviction in concept and execution can be discovered. Entrance is free, so it is worth a visit, but visitors should bear in mind that as a degree show it showcases artists still in germination, not full bloom. This will be either frustrating or fascinating, depending on your outlook.