Simon Fujiwara, Tate St Ives

In Fujiwara’s work, buildings and objects have a sexual charge. Whether this is the museum’s formality unexpectedly yielding up the sensuality of ancient London, or the transformative power of a Patrick Heron painting upon a young boy’s sexuality, bodies and objects are caught up in erotic relationship which appears as consolation or release for the former. This appears a complex exploration of the power relationships between the animate and inanimate, as if the line between them is, in any case, blurred, and the effects of power unpredictable. Performance and installation that is also a form of stage set allow the live interaction of body and object although the meta- theatrical discussion that forms the bulk of the two performances on video here also questions performance – or rather theatre – suggesting its inability to adequately capture this relationship.