‘Unbound’ Opening Night at The NRG

From the 2nd to the 17th of October, The Norman Rea Gallery welcomes their first exhibition of the 25/26 year: “Unbound: The Art of the Mystical and the Magical.” The exhibition aims to invite its audience to see beyond traditional, rational perception and open their mind to an alternate way of viewing and understanding art. Characterised by mysticism and the occult, Unbound leans into a world in which visual forms become gateways to a liberating consciousness. It’s safe to say I was intrigued and so on Thursday night, I took myself along to their opening night, hoping to open my own mind to this fascinating world. 

Arriving on campus, I caught a glimpse of the gallery tucked just above Courtyard, in which lighting of an indigo and violet hue could be seen seeping through its unassuming windows. I was greeted with a drink upon entry, as I stepped into the exhibition for the first time, truly feeling as though I had been transported into an other-wordly space. 

My first observation - and one I certainly couldn’t miss - was a large aluminium and steel sculpture, titled Codex Machina by Georgina Lingard. Illuminated by the deep purple floodlights in the gallery, the piece cast inconspicuous shadows, highlighting a rigid framework skeleton which led out to twists and sharp points. In an ode to industrial machinery, Lingard’s sculpture explores a material reality in which obsolete mechanical craftsmanship can explore systems of logic used by our ancestors.

Image: Codex Machina by Georgina Lingard

As I wandered around the gallery, I was in awe of the plethora of different art mediums used to explore this theme. The exhibition demonstrated, in perfect balance, that art of the occult could be represented in almost any form. Two corners of the gallery space were dominated by projected digital work, which welcomed viewers on sofas conveniently placed before them. My personal favourite, ‘Cobwebs of the Mind’ by Nicole Littleton, displayed a black and white, hand-developed film sequence exploring a sequence of rebirth and renewal within the dark, feminine subconscious. 

Image: Cobwebs of the Mind by Nicola Littleton

Other standouts from this exhibition included a huge tapestry, pinned to the walls of the gallery like a centrepiece. Ways of Being by Maria Hallwell is a quilt made from 24 individually crafted squares using embroidery, patchwork, and print making. The piece explores how liberation, both mental and physical, can be found through connection to one's natural surroundings. It explores figures from whimsical and fantastical roots, culminating in an incredibly detailed and awe-inspiring piece which quickly became one of my favourites - something I'd love to display in my own bedroom.

Image: Ways of Being by Maria Hallwell

As I continued into the next room, walls painted a deep purple framed a rich variety of artwork continuing the theme of the exhibition. Another that struck me was It Still Lives by Yeuyen Liu, an intricate textile piece replicating lace, pinned to the wall. Exploring the art of witchcraft as an ancestral practice, this piece demonstrates that art breaks down systems of inheritance and therefore future identities. Our very own Art Editor, Ruby Parsons, also displays a piece in this exhibition: a lino print titled Lying in the Woods, She Wondered if She Could Stay Here Forever. Ruby’s print also unites nature and the self through the symbol of the ‘Earth Witch’ - exploring the femininity of spiritual practice which can be passed down through generations of young women. 

Image: Lying in the Woods, She Wondered if She Could Stay Here Forever by Ruby Parsons

Image: It Still Lives by Yeuyen Liu

Just upon leaving, I was lucky enough to chat to the Norman Rea Gallery’s new co-editors, Lizzy Jones and Charlotte Whitehill. I spoke to them about the conception of this exhibition, and some of their favourite pieces:

Unique: What inspired you both to choose ‘Unbound’ as the theme for this exhibition?

Lizzie: There’s a lot of similar exhibitions on this theme at the moment, and it’s very topical. I also think it’s really nice to begin university, where you’re so focussed on academic work, with something that’s more creative and not as rigid.

Charlotte: Definitely. This is something slightly different to what you’d see at traditional museums and galleries. This is more surreal, allowing you to think differently when you look at the artworks. There’s no set description.

Unique: Do you both have a favourite artwork on display tonight, and did you choose any of them yourselves?

Lizzie: We have got our own artists! One of mine is the lace piece, It Still Lives [Yeuyen Liu]. But if I couldn’t choose my own artists, my favourite would be the quilt which our treasurer Millie found, it’s hanging on the doors [Ways of Being, Maria Hallwell]. I love it, it makes me want to run my hands over and feel the details.

Charlotte: I think I am biased towards my own artists too, but if i had to pick another it would be Shula Rush Grew’s The Sad Hatter’s Tea Party, and her soft sculptures too.

The exhibition gave me a deeper understanding of what it means to be ‘mystical’ and ‘spiritual.’ For me, ‘Unbound’ tied together the power of both the artist and the spectator in reaching beyond traditional viewpoints. The pieces on display certainly demonstrated a unity between generations of artists, creators, and art-lovers by reaching into a spiritual consciousness - and for that, my mind truly has been opened.