Rosie McGinn's three installations explore how we push ourselves to extreme limits and chase after euphoric experiences in the search for our place in the world.
Full Howse is a giant, hand made, leopard-printed bingo woman, inflatable sculpture. As the air flows through the nylon structure the women rises, her arms flinging out to each side, mimicking the frenzied moment of winning a full house. The image is of McGinn’s grandmother, who is now banned from her local bingo.
Terrifying in scale and presence, while maintaining slapstick humour, Full Howse captures a moment of euphoria in constant motion. The deflating of the body punctures the joy and the fleeting moment of escapism is gone.
World’s Strongest Man uses appropriated footage of competition strong men lifting incredible weights. The clips are cut and edited in such a way that each weightlifter has no time to rest. The red faces, bulging eyes, and swelling of the veins show how they let go of their self awareness and push themselves to the end of their human limit. There's a symbol here for our human restlessness, a desire to go beyond our capabilities.
By chopping the footage to highlight just the faces and encasing them in PVC prints and 90s TV monitors, McGinn points back to her own childhood, watching WSM on the small TV in the backroom while eating fish fingers.
McGinn’s last installation for our closing event Ravers is a brand new installation work comprising human-scale inflatable air puppets, flailing with relentless and unpredictable movements, powered by an industrial bouncy castle air blower.
These characters examine the culture of raving, and the joy of dance as a means of escapism. The Ravers are trapped in a moment of endless dance as they seek another level of being, and are lost in their lack of self awareness.