The last thing you would expect to come across in a little Cambridge church would be an art exhibition; yet this is where I found myself puzzling over Whitney McVeigh's most recent piece. My initial response was of confusion as I beheld what appeared to be a scene from someone's house. There were items scattered across the floor ranging from books to typewriters, with a large trunk and chair just off-centre. These objects were brought from Whitney’s studio in London, after she had been invited as the fifth artist ever to use this space for an exhibition. 

Whitney’s work seemed to fill the emptiness of the bare church, though physically it only took up a fraction of the space. It surprised me that after the initial shock had worn off, the traditional elements of the church - the font, altar and lack of décor - seamlessly integrated with the objects, as though they were acting somewhat as part of the exhibition. By bringing an everyday home scene into a church, McVeigh brings together two worlds that are often pillared as opposites. The juxtaposition achieved by placing everyday objects in such a hallowed space, bridges the gap between spirituality and domesticity.

Sitting in the strategically placed White Armchair I was able to contemplate her work in what I found to be a familiar and reassuring atmosphere. The atmosphere of safety that the Church provides allowed me to ponder more deeply on my own thoughts on her work and the potential meanings it offered. It occurred to me that being in surroundings that were of physical comfort allowed me to consider concepts beyond my metaphorical comfort zone. The whole setup of the installation really emphasised how the mind and body can become detached from one another.

All of the objects hold a personal meaning for Whitney, as she has collected them throughout her life. They do not have an overt reason for being there nor an obvious pattern of relevance; yet this ambiguity allows for the viewer to construct their own interpretation of the display as well as bring their own experiences to the exhibition. Some objects evoked memories and parallels from my own past allowing me to reminisce, while others simply piqued my imagination as I wondered at what stories they might hold.

Essentially this installation is a spark for creativity and the imagination. By placing everyday objects out of their usual context, McVeigh forces the viewer to think about them in a different way. After all, everything has a story, even that which we may perceive as ordinary. This exhibit calls upon us to conjure it up from the endless possibilities.

Leaving the exhibition, it dawned on me how unusual the whole experience had been, and how whilst inside I had been ensconced in a bubble of McVeigh’s making, oblivious to anything beyond that space. By being at the centre of her work and interacting with it, I felt myself almost become a part of it, bringing a unique sense of understanding. This is at the heart of what was so powerful about the installation; it prompts us to integrate our personal experiences and imagination with the art, leading every person to interpret it in their own individual way.

An Interview with Whitney McVeigh

Please can you briefly tell me about yourself and your artistic journey?

I was born in the States and came to this country when I was seven. I’ve moved around a great deal and have been lucky enough to work in other countries. I would say I began with an interest in writing and later this turned into a visual language. Lately I’ve been imagining my installations are a kind of reenactment of home.

Could you tell me one of the stories relating to a piece in your exhibition?

The colander was found in a derelict house many years ago and I used it in my kitchen for several years. I then moved it to my studio where I saw it as an object. I began to notice the light and how it filtered through the holes and it’s bent shape showed its age. I wrote fictional accounts of the people who may have used it. I see these objects as markers that hold as much intrinsic value as anything else.

How has that piece of the past has been maintained in the present?

An object that shows what it has lived through is of interest in that it’s something tangible and real – time shows itself in this very translation.

A cynic may say that your exhibition is more like a car boot sale of unwanted items. How would convince them otherwise?

Perhaps by telling them to look more closely.

I love the concept of the contrast of the open space and starkness of the Church with the intricacies of the items in the exhibition, was this deliberate?

Yes it was intentional to let the church remain (its own space) and to not interfere with it. When you take an object out of context and place it somewhere new it inevitably does something to the space and to the relationships with that surrounding space. Jim Ede thought carefully about this.

A book that is part of the The Psychology of Everyday Life exhibition particularly interested me. Could you tell me more about this?

I picked it up for its title alone. This is what the work is about and why the book is included. I remember hearing a woman telling a story about how she was moving countries and she decided to throw a leaving party. Before the party she wrapped up the glasses and cups and pots, general everyday items she couldn’t take with her and she gave one to each person as they left. This was to remember her by. She felt the most used objects held something of her and she passed them on.

@whit_mcveigh