For the past few weeks I have been highly anticipating this years Margaret Street Degree Show. Witnessing glimpses of installs as I saved my eyes for preview night my excitement grew. On the night itself I went through the highs and lows of the group show, having to take a second view the next day in order to take it all in. I was enthralled by the contrasts of surface within the painting installation of Joseph Carter; enchanted by the delicacy of the hundreds of thumbnail images by Charlotte Horn hanging in their chandelier arrangements; my senses overwhelmed by the mint and lavender propelled into the painting studios by Jack Branscomb; and transported by the mix of architectural and organic imagery projected by Amy Wallis.
However, after much debate with myself, my mind being made, unmade and remade repeatedly, I have chosen the work of Narges Ipakchi as my 2012 One To Watch.
Ipakchi's show was comprised of a textural installation and accompanying video work. The concept sounds and indeed seems simple but the effect was of angelic transportation. Two panels comprised of stretched, white mohair threads created a corridor at the end of which was a film dedicated to the process of weaving and the use of threads. Within the corridor I felt softened, as though I had been taken from the art school environment and set amongst the safety of the material. It may sound odd for a piece that was surrounded by bright colours, sounds and peoples but the work had a peace and serenity to it that I found utterly entrancing. I wanted the work to expand, to fill the whole room and surround me with it's quiet.
On her website Ipakchi states that she is 'presenting the unexpected beauty found in mundane material' and through her use of plaster, paper, thread and fabric she allows her viewers to be immersed through physical engagement. In this I feel Ipakchi has succeeded. I was engaged, I was immersed and I found beauty within the ordinary.
Sometimes simplicity is all you really need.