CONSENT VOLENTI, 2014
'The Cliff, The Clock, The Horse, and The Waiver' oil on canvas, painted floor, sponge, acrylic thumb, upholstery sponge, wood, wooden horse, cookoo clock, paper, frame, weights and motor. Dimensions Variable (c.18ft x 18ft), and The House; oil on canvas, upholstery sponge, wood, hinged motor and bells. Dimensions Variable (c.18ft x 18ft),'Parse' a projected animation, w/colour and sound, duration 00:07:17 (00:14:34), video dimensions: 640x480, projection and screen dimensions: variable, wood, painted canvas and sponge. The Sea oil on canvas (11 x 8 ft); wood; castor wheels and spring; dimensions variable, 5.5ft x 8ft x 22ft fully extended). 'The Woods' wood; clay; acrylic; bangers and gunpowder, miscellaneous parts, dimensions variable.

Installation shots;
RUA RED, Dublin & International Studios and Curatorial Program, New York, the Irish Museum of Modern Art, Dublin and The Crawford Art Gallery, Cork, supported by the Arts Council Project Award for ISCP & the Art and Law Fellowship Program.

Of these streets that deepen the sunset,
There must be one (but which) that I’ve walked
Already one last time, indifferently
And without knowing it, submitting

Borges, ‘Limits’

Sonia Shiel’s installation ‘Consent Volenti’ pitches the legal notion of inherent risk with jocular physics through a series of painted landscapes cum' habitats. Here, hard is soft and risk aswell as (in)credibility is waived. In The Cliff a legal document standing out from a spongy cliff edge, has attention drawn to it by an-ever appearing cookoo - its' clock emphatically over-weighted causes its time to spin unnaturally fast. The Waiver, which can be read here is an absurd linkage between the physics of cartoons and the far-fetched intentions of art. The inherent risks it lists are compared numerically with rules of jocular physics such as; 1. Any body suspended in space will remain in space until made aware of the situation or 11. Any violent rearrangement of matter is impermanent, and the viewer is reminded that these physical and mental advantages might not apply to them in real life. While Parse, which can be viewed here, is the animated story of a young girl determined to bring about the return of her mother from a trip to outer space, in accordance with the same laws of jocular physics under which her world is ruled. Set in a cartoon-habitat, where things fall consciously; space and distance are compressed; death is recoverable from and stars are souvenirs. The House, a two sided painted sponge construction, is deceptive, its windows prevent any real access, delivering the viewer always to the outside of an impenetrable homeliness. Despite its lived-in appearance, the idyl can only be passed-through and never truly inhabited nor could one escape from it. 'In Woodland' is a series of land-mines, satellites to a ceramic pinball machine, that hijack the floor and other works. Planted into the wood/clay melange are gun-powder bangers, detonated by a small silver marble. They create loud bangs and puffs of smoke here and there, and the smell of scorched wood - like a tiny war. While The Sea is contained in a cabinet of painted scrolls, with drawers marked east, west, north, south, far and wide, while on the ground are strides of painted-on hoof-prints, leading in diminishing scale, toward a tiny wooden horse in mid-abandon, off the top of the cliff.

VIEW PARSE, 2014::PLAY VIDEO

READ THE WAIVER