Replete with sticky materials summoning childcare and motherhood, a selection of Cathy Wilkes’s most potent works from the past twenty years is installed in her first major survey, awarded to the artist as the inaugural winner of the Maria Lassnig Prize. Incorporating found objects from the Glasgow area (where the artist is based) into assemblage, painting, and sculpture, Wilkes’s work elicits a deep form of attention that defies the tyranny of forgetting, overlooking, not noticing. In a vitrine near the start of the exhibition, lying next to a carved, wooden bird ornament flipped supine so that it raises its long legs to the sky, is a pale-yellow plastic bowl in which a film of grime has dried, containing a fragment of a broken circular mirror. That sharp shard in Moons, 2004, reflects an angle of the bowl that we cannot see inside, and operates as a tense, tender variant on one
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