'Confluence' by Georgia R. Lawrence & Lena Lee
One is instantly impressed by the subtle tension between closeness and distance that permeates the show Confluence, which is a collaboration between artists Georgia R. Lawrence and Lena Lee. The exhibition explores the dynamic interaction of friendship, communication, and the changing ideas of home and protection. It is carefully divided into two mirrored sections.
In the centre of the room is an interactive sandpit, a moving focal point where two sand mounds lie, signifying the artists' emotional and physical interaction. A central video installation is connected to the sand that was gathered from each artist's home beach. On one monitor, Lawrence is seen meticulously creating a sandcastle on Lee's home beach, while on the other, Lee is seen returning the favour on Lawrence's home beach. A tangible representation of a cross-border exchange of caring, presence, and effort, the act is straightforward yet deep.
Two walls flanking the main installation are decorated with items from each artist's hometown beach. These tiny, tactile artifacts—driftwood, seashells, and other ephemera—act as visual reminders of time and place, fostering conversation between the various settings each artist works in. The arrangement of the artefacts underscores the duality of shared yet unique experiences and discreetly reflects the conceptual give-and-take of the sandcastles.
Sketchbooks that are available for visitors to look at add to the intimacy of the display by providing a glimpse into the working process. In addition to chronicling the project's development, these hand-drawn pages offer personal insights and visual investigations of connection and home. Delicate watercolours of periwinkle shells, each unique in pattern and colour, are featured on one particularly remarkable page, serving as a metaphor for uniqueness within a collective framework. By serving as a conduit between the audience and the artists' inner lives, the sketchbooks enable us to interact with their complex mental processes.
However, Confluence's capacity to conjure the intricacy of connection is what really makes it resound. The sandpit, the videos, and the artefacts are all mirrored, which emphasises a balance between independence and reciprocity. Building sandcastles on foreign beaches may appear to be a sign of unity, but it also highlights how difficult it is to fully inhabit someone else's environment. The exhibition's strength lies in this conflict between autonomy and empathy.
A more direct interaction with the audience beyond mere observation, nevertheless, might have enhanced the performance. The rest of the show felt a little solitary, which may have been a reflection of the project's intensely private nature, even though the sandpit encouraged contact. This internal focus could make it difficult for certain viewers to completely engage with the emotional heart of the piece.
However, Confluence succeeds in challenging and honouring the complex relationships between home, distance, and teamwork. It reminds us that relationships, whether they be between friends, coworkers, or even between a person and a location, involve delicate compromises. The show invites spectators to consider their relationships and the fleeting yet enduring nature of belonging, leaving a bittersweet feeling.
Confluence is a beautifully crafted and deeply considered body of work, a testament to the power of thoughtful collaboration. It speaks volumes about the importance of meeting others halfway, even when standing on different shores.
