The playfulness of Nicole Wermers’s exhibition “Grundstück” belied a more serious project, one that engages the phenomenological implications of familiar forms. The German-born, UK-based artist highlights the peculiar coldness of modernism’s retail legacy by hijacking consumer objects and ludically subverting their intended uses. Here, Wermers presented three new bodies of work, each of which contrasts high and low and pits strict geometry against tendencies toward disorder.
The artist’s humorous approach was easily glimpsed in the five “Mood Boards,” 2016–17, hung along the gallery’s east wall. These feature commercial baby-changing stations, the kind usually found in public restrooms. Wermers underscores the bland neutral tones and faux-stone textures of the molded plastic forms by filling the recesses of their flip-down shelves with bespoke pieces of terrazzo. The material has
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