Sainsbury Centre, UEA, Norwich
> Sainsbury Centre, UEA, Norwich
The aim to maintain the profile of the visual arts during the Sainsbury Centre's refurbishment is applaudable.
Indeed, the aspiration to commission international artists to create site-specific temporary works is most laudable.
But the short, three-week residency period has meant that in some instances the ambition is disappointingly adrift from the output.
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Forsaking aesthetics in his effort to provide narrative about the dispossessed, Bogdan Achimescu presents a cluster of gauze pods cluttered with car boot sale detritus.
El Anatsui's intention was to work with water as it's such an integral part of the site, however his vision to traverse the bridge has been severely compromised and the remnant untitled piece, consisting of a half hull left high and dry on the grass embankment, seems a pitiable contingency.
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The leading charade though is Machiko Agano's cascading nets of plastic fruit, which were drawing derision from even the youngest spectators.
Not all commissions pander to the craving for pointlessly superfluous novelty so do persevere to Cleaving by Claire Morgan, the most inaccessible yet by far the most interesting work. It's a suspended installation constructed from willow leaves and as light filters through into the glade the subtle movement of foliage on the wires, contrived to convey two arrows, is a joy to behold.
Predictably, Chris Drury's vortex of logs leading to a charred centre is potently powerful, although I don't anticipate his carefully lain out labyrinth will survive visitors lackadaisical laziness for long.
Elisa Bracher displays innovation by elevating process along with product.
Her large-scale contemporary woodcut prints grace the hoardings around the building site and the whittled blocks themselves have been tension sited to great effect.
t This exhibition in the grounds around the Sainsbury Centre continues until the end of August.