SNAG: An Evening with Giles Eldridge
Wednesday evening, April 9th, I found myself navigating the labyrinthine alleys of Bucharest’s Old Town, the cobblestones echoing underfoot as I approached Galeria 15 Design (G15D), a space where the city hides a small corner for artists to exhibit. The gallery, a white cube nestled amidst historic architecture, was already alive with whispers, low voices, and the subtle sound of people moving. Giles Eldridge stood amidst his latest exhibition, SNAG, a collection that defies easy categorization. Eldridge, an English artist who has long called Bucharest home, is known for his interdisciplinary approach: painting, collage, and sometimes performance, although he’s primarily a painter.
SNAG presents three distinct groups of images, each a tapestry of cultural references and improvised abstractions. The works, ranging from abstract paintings to graphite portraits, are arranged not just on the walls but within the very fabric of the gallery space, inviting viewers to engage with the “materiality of discrepancy.” It’s a term that lingers, suggesting the true essence of the exhibition lies in the contrasts and tensions between pieces. As I moved through the space, camera in hand, I couldn’t help but ponder the choices behind each placement. Giles’s studio at Malmaison houses a vast array of works, yet here, only a curated selection is on display. The restraint speaks volumes, allowing each piece to breathe and resonate.
Outside, I caught up with a friend, our conversation meandering from the exhibition to the minutiae of daily life. The city buzzed around us, a constant backdrop to our musings. Earlier that day, I’d wandered the streets, capturing images and ambient sounds, something I like to play with, blending visual and auditory landscapes into cohesive, or not-so-cohesive, narratives. At some point, I remembered I had wanted to see a concert at another art gallery. So I said my goodbyes and headed off through the city. On the way, I ran into a few people I knew, also on their way to see Giles’s exhibition. That felt a bit ironic. When I finally reached the other space, I realized I had the wrong day. I’d arrived a day too early. And suddenly, I was kind of upset that I’d left SNAG so soon.
I had taken only a few photos of the exhibition, just enough to say I was here, but not enough to really explore the visual logic of the works. I wished I could have stayed longer, to observe, to document, maybe even to ask the artist some of the questions I’d kept to myself. SNAG is more than an exhibition; it’s an experience that challenges perception and invites introspection. Giles Eldridge doesn’t offer answers but rather poses questions, leaving viewers to find their own meanings amidst the interplay of form and content. The exhibition runs through May 12th, offering a unique glimpse into the artist’s evolving dialogue with art and space.
