Ann Veronica Janssens evaluate – Jackson Pollock meets Disney princess get together | Artwork and design

Sneeze and it would shift ... Janssens’s glitter art.

Buckets of glitter, colored lights and a corridor of mirrors. No, the carnival isn’t again on the town. These are the uncooked substances for Ann Veronica Janssens’ glowing takeover of South London Gallery (SLG). The glitter – iridescent blue with a touch of pink – has been strewn in armfuls throughout the picket flooring of SLG’s fundamental Victorian gallery, just like the offspring of Jackson Pollock’s studio flooring and a Disney princess get together. Stroll previous and it coruscates. Sneeze and it will shift. It’s so ethereal that it makes Katharina Grosse’s spray portray of the identical house in 2017 look positively cumbersome. Halfway by way of the present, the glitter will likely be swept up and thrown away, changed with a set of extremely polished bicycles that you’re invited to experience, bouncing gentle across the room as you go.

Janssens works within the realm of floaty impermanence, enjoying with gentle, house, reflection and notion. Judged as easy sculptural kinds, the Belgian artist’s work is restrained within the excessive: bicycles apart, that is largely a group of cubes, sheets and rings. The objects’ liveliness emerges as they join the individual observing them with the encompassing house. Typically they create the setting for a efficiency by which you star: good for our self-regarding period, although Janssens has been working this space for many years.

Sneeze and it would shift ... Janssens’s glitter art.

Sneeze and it will shift … Janssens’s glitter artwork. {Photograph}: Ann Veronica Janssens/Andy Stagg

Leaning in opposition to the doorway wall, Magic Mirror (Blue) (2012) is a shimmering sandwich of shattered glass and colored filters. Collectively the layers kind a damaged mirror, a symbolic object suggesting dangerous luck, insanity, the folly of self-importance or the phantasm of truthful reflection. Janssens appears much less focused on grappling burdensome artwork historic references and extra within the spectacle of unstable reflection itself: your fragmented picture seems to drift in a mist of shifting color contained in the glass.

She is an artist of on a regular basis magic, summoning phantasmagoria from phenomena reminiscent of vapour, polished surfaces and the separation of water and oil. Whereas the glitter spill emphasises the empty grandeur of the outdated SLG constructing, works proven within the hearth station reverse play on the intimacy of encounters in areas of home scale.

Three Gaufrette (wafer) works are tremendous sheets of ribbed glass carrying PVC color filters. Put in in a low-ceilinged room solely simply massive sufficient to comprise them, the mutating moiré colors that emerge as you stroll back and forth have an otherworldly, ghostly presence that appears divorced from the stable works themselves.

Le Bain de Lumière (The Mild Tub, 1995) is a glass vase shaped of 4 stacked spheres stuffed with demineralised water. Positioned on a window ledge, every ball acts as a lens, providing an inverted avenue view. The liquid-filled orbs work a lot as our eyes do, so in taking a look at them we unwittingly reproducing the trick a second time.

A cube-shaped vitrine stuffed with a mix of water and paraffin – Golden Dream (2011-16) – gives an increasing geometry of inner reflections and pops of metallic color that shimmer out and in of sight.

Sweet spot ... Candy Sculpture, 2019

Candy spot … Sweet Sculpture, 2019. {Photograph}: Ann Veronica Janssens/Andy Stagg

Whereas she shares her cool perfection with the gentle and house artists of postwar California, reminiscent of James Turrell or De Wain Valentine, Janssens additionally lets us see the working of her illusions. In a darkened house, two little spotlights blaze right into a nook producing melding puddles of cyan, magenta and cobalt: the exhibition’s titular work Sizzling Pink Turquoise (2006). In case you ill-advisedly stare into the lights you’ll uncover the bulbs have been fitted with a dichroic filter. Every gentle is thus each doubtlessly sizzling pink and turquoise concurrently. This mundane element is there for us to find: the lights are merely standing on the ground, their wires on view.

Janssens has scattered treats across the gallery like Easter eggs, unannounced. A bit of liquid-filled dice with a suspended neon stripe sits outdoors an higher window. Excessive up on one wall is {a photograph} of a determine pushing in opposition to an invisible floor.

The iridescence that Janssens favours remembers sequinned dance costumes, eye shadow and customized automotive bodywork. Pop, possibly a little bit vulgar. Somebody dubbed her work “‘pornographic’ minimalism”. They invite unselfconscious pleasure.

Stacked informally on the ground is a pile of posters studying: “Within the absence of sunshine, it’s potential to create the brightest pictures inside oneself.” It’s a featherlight sentiment in a featherlight present – one which feels devoted to playfulness and ephemerality. The maverick designer R Buckminster Fuller used to pose architects the query: “How a lot does your constructing weigh?” We’d properly ask the identical query of sculptors. Typically an absence of substance could be a good factor. It feels the precise second for pleasure, gentle and air.

Ann Veronica Janssens: Sizzling Pink Turquoise is at South London Gallery till 29 November.

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