Blindside Maze Installation

Curated by Andrew Tetzlaff

B-side engages the corners and edges of art practice: the dead ends that go places, the old habits that die hard, and off-cuts that take root. In one light, this exercise appears to be an event in honour of, and springboard for, formative ideas. Beyond the experimental, nostalgic or developmental goals, however, lies a challenge for both the audience and artist. How, in a post-medium age, can the relocation or hybridization of one’s art practice enable a re-interrogation of its conceptual underpinnings. B-side gives us a moment for re-invention. It’s a time for artists to put their foot out of line as little as an inch or as much as a mile.

Daniel Dorall’s world is one of twisting passageways and surreal meetings. The maze forms of his sculptures are hypnotic, enticing the viewer to wander aimlessly amongst fractured narratives and thin hallways. More than the small microcosms they present though, they are durational journeys; the work itself seems a manifestation of, or metaphor for the idea of exploration. By inflating the scale of this work, our perceptual meanderings become physical ones. Dorall encompasses us with a labyrinth not as a trap, but rather as an experience of space.