In response to Ann Fordham’s Abstraction, Alana Lake draws parallels to the world from which surrealism emerged. A multitude of global risks, from nuclear weapons and climate change to pandemics caused by biotechnology only highlights how the world remains as nonsensical now as it was in the aftermath of World War I. In observing Fordham’s work, Lake finds herself immersed in the observation of abstracted forms suspended in space, where each shape holds its distinct and certain form, yet remains elusive in its identification, maintaining a sense of familiarity. Fordham’s work leaves Lake “disoriented and displaced, yet strangely at ease amidst the queer objects that populate and inhabit the artwork.”
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