DUBLIN.- Kerlin Gallery opened The Weight of Nothingness, an exhibition of new sculpture and photography by Siobhán Hapaska that explores absence as a material and as a psychological condition.

In The man with a stone in his stomach inverts sunflowers. a lone figure stands on a makeshift plinth. Their core is hollowed out and filled with a stone, the identity is obscured or they are without one. The darkened skeletal framework is a precarious one, simultaneously devotional and exhausted, its offering of inverted blue sunflowers are denied their upright sunny, optimistic disposition.

There is a heavy stone, a weight of nothingness at its core.

Surrounding the central figure is a new series of wall-mounted sculptures meticulously constructed from twisted concrete cloth with resin and Jesmonite. Concrete cloth — a material associated with reinforcement and containment — is manipulated by Hapaska into forms that appear bodily. Each work has its own glass like forms escaping from the folds or growing on its surface, some red, like enlarged blood platelets, others black, each a dark lens into another infinite universe.

A parallel series of photographic prints captures the artist’s breath in a cold, darkened studio. Barely visible and transient, the images register breath as condensation and disappearance simultaneously — a minimal but insistent index of bodily presence.

The work in this exhibition continues to refine Hapaska’s longstanding engagement with material instability, disorientation and our contemporary psychic dislocation. In one particular work, Article 1 UDHR, Hapaska represents the very best of human intentions, the foundational principles of dignity, liberty, and equality spelt out in shells that are eroding, on course to disappear. At the centre of each a void.