Warm-hued photos from Luke Fowler’s Two Frame series welcome you into the big, bright rooms of Inverleith House. They form a selection of more than a decade’s worth of autobiographical documentation, explicit neither in chronology nor in narrative; instead, the photos invite the viewer to draw connections between them, whether in their subject or form.
These lead you on to the main foci in the darker rooms of the exhibition: downstairs, the installation Ridges on a Horizontal Plane, a collaboration with Toshiya Tsunoda, engages the senses with a muddle of erratically projected images and 16mm film on a forever moving screen. The wire – or horizontal plane – is placed in close proximity to the screen, adding a further layer to the complexity: when they meet the wire produces sound. It separates the sound from the silence and the light from the dark.
Upstairs, the UK premier of All Divided Selves is screened, a feature-length homage to the radical and oft-vilified anti-psychiatrist R.D. Laing. All Divided Selves could be described itself as an anti-portrait: disjointed and without a narrator, we travel through collected footage of Laing interspersed with Fowler’s autobiographical material. The esteem with which Fowler regards Laing is evident, and yet he has laid him bare, with his vulnerable nature revealed just as much as his captivating magnetism.
Fowler has been closely involved in the curation of his own exhibition, selecting Tsunoda’s Maguchi Bay which transforms otherwise unheard low-vibration recordings from underwater currents into tangible sounds. He has also curated a selection of photographic portraits by John Haynes – including powerful renderings of the enigmatic face of Laing – which serve to complement his own works, as well as being beautiful in their own right: it is surprising that this is their first time presented in a fine art setting.