• Glasgow Sculpture Studios The Whisky Bond G4 9SS

“mood is made / temperature is taken”
curated by Quinn Latimer

Rachel Adams / Jennifer Bailey / Sarah Forrest / Jenny Lewis / Tessa Lynch / Lorna Macintyre / Niall Macdonald / Natalie McGowan / James McLardy / Lauren Printy Currie / Clara Ursitti / Zoe Williams

05 July – 06 September 2014

Your hothouse flower your florid your lurid your leaf your car finish your finish fetish. You finish I am never finished. Your monolithic remains unpublished or publish this I ask that or this to be no not finished something—what—something unflesh. Something cast in your fervent no fervid emotional furnace. How dry it is in there. So deco. Palm purring, now clicking. What a vibe. Humid out here, you know. Wet finish.
Wet finish.

I wanted to think about the making of nature, and I wanted to think about the taking of the made, the unnatural. I wanted to think about surface and I wanted to think about atmosphere. I wanted to see it. The surfaces we furnish our rooms with—to create a mood. I was not the only one. I wanted to think about the temperature of those rooms, those surfaces, those atmospherics: I wanted to take it. I was not the only one in that either. In late 2013, I visited Glasgow Sculpture Studios for the first time. The surface I entered there was, or its appearance was: red brick, stolid against the thick, winter-white sky. Inside there were too many fire doors—all Plexiglas and muted blue lacquer—to count (I tried to). On the other side of those doors were more rooms: fluorescent-lit studios filled with artists, many of whom showed me works that also seemed to ply surface and surface effects—appearances, let’s say—as well as the studiously crafted “natural” order, the lifting of the artificial, some dark mimetic, what, empire. The artists appeared to be employing mutable and mutating strategies of craft and appropriation, both analogue and digital, that allowed them to “touch on” what surface appearance might look like, feel like, smell like, might “mean.” What affective, atmospheric experience, patently unnatural, such artistic strategies might produce.

The exhibition “mood is made / temperature is taken” at Glasgow Sculpture Studios brings together a constellation of artworks by twelve artists that operate in this ambiguous, laconic place of mood, temperature, tone. That is, the world, only with its atmosphere heightened, drawn out, lucid, languorous. 

A bit humid. Somewhat cinematic. Lacquered. Austere sometimes, florid others. Like that. The artworks effect us, they play with affect, and yet we—spectral spectators, some audience—are not sure why. But we’re affected, for sure. Just as indistinct are the comingling methods and modalities of craft and appropriation that these artists employ. Let’s name them, our artists: Rachel Adams, Jennifer Bailey, Sarah Forrest, Jenny Lewis, Tessa Lynch, Lorna Macintyre, Niall Macdonald, Natalie McGowan, James McLardy, Lauren Printy Currie, Clara Ursitti, Zoe Williams. 

What do mood and temperature have in common? They are everywhere and yet we cannot touch them. We can qualify and describe them but we cannot see them. They fill every room and yet we cannot more than name them. Like a kind of ether, they are: we know them, they challenge and change us, they sweat us, they connect us, they are in the air that we move through together. They vibe us. They make us aware of ourselves and of others. We “vibe.” They discriminate, they participate. Divide, collect. Yet mood and temperature remain allusively elusive, even when they are a part of ourselves, or the parts of ourselves we offer. So. What next? Here, we made this: take it.

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