Over the historical two and a half decades British artist Martin Creed has pursued an extraordinary path by confounding the traditional categories of art.
As I entered the exhibition I had to go through a doorway that was part blocked by a second-hand sofa. After, I was greeted by a huge neon sign rotation on an iron beam that spells ‘MOTHERS’. It stands a 6ft inches and swirls frighteningly close to your head. I believe this is supposed to be a metaphor for mother figures.
I could feel the huge sign sweep over my head as I walked around – I almost wanted to run away as it could easily knock off anyone’s head off.
This show is one of the best solo exhibitions at the Hayward. Creed did a good job with presenting his works as he lives everything open and empty which allows everyone to enjoy and walk around freely.
There are paintings made with his eyes closed, and a portrait that was hung so high and he had to jump every time he wanted make a mark. The variety of Creed’s work makes it hard to talk about touch, manner or voice. But they are all the same, I personally believe.
The only thing anyone could feel or touch is Infant Delight – a space filled with large, walled, white balloons. I entered the space as I blundered in, negotiating my way past a slightly reeking old sofa I slid through the slithering spheres.
I felt like a bubble amongst the white large balloons, which was a pure experience. The air was filled of static, delighted squeals and unexpected bangs. It also most felt like I was swimming through the sea of clouds. Infant Delight was one of the most enjoyable work by Creed and I highly recommended visiting before it ends on 5th May.
Martin Creed’s, Work No. 88: A sheet of paper crumpled into a ball, 1995 also caught my attention due the way it was presented. What caught my attention was the use of lighting, which created a simple paper appear to be dramatic.
Overall, my visit to Martin Creed’s exhibition was enjoyable and I was pleased to be given the opportunity to witness his works.