Charles Avery

Cubitt Gallery/Alexandre Pollazzon LTD

Forget about Charles Avery’s extraordinary abilities as a draftsman. Forget the complex relationships between text, installation, sculpture, model making, illustration, and the readymade; forget the overlap of abstraction, geometry, figuration, and mapping. These exhibitions (the one at Pollazzon was shared with Keith Wilson’s suspended sculpture Ring, 2006, a readymade, old-fashioned tubular iron structure that in bygone days functioned as a portable livestock pen—and which, like Avery’s work, examines notions of inside/outside) are merely introductory chapters in the slow unfolding of Avery’s vast personal cosmology, an immense fictional universe centering on “the Island,” whose every feature—from its geology to its flora and fauna—embodies a philosophical proposition. At Cubitt Gallery we encounter one of the Island’s landmarks, “The Plane of the Gods,” a flatland inhabited by, among

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