Friction Fit refers to the unique hanging system devised for the show: throughout the gallery a series of structural beams are pressured into place, providing a supportive platform upon which each work is suspended.

 

This is an inconspicuous reference to the works themselves: collages of found-paper (Woodward refers to them as studies in composition and color) picked off the street and collected over years of walking the city; and drawings of architectural ornament once designed to articulate internal pressures and themes circulating throughout a given structure. In a way, both the collage and drawings are their own version of old lives, old understandings reconsidered to fit into a new context.

 

Here Woodward re-homes them through a multitude of materials, reactivates them, and calls attention to that other world of pressures and frictions that live on just beneath the surface of what we see. A world of presents and associations, tethered to our senses of ourselves, eerily familiar yet removed, suspended, not quite enclosing and thereby not quite capturing the real. Instead, something new is collected out of the wake of memory. 

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 In addition to featuring visual works of art, “FRICTION FIT” is given a musical  dimension  by the Iceland – based composer Leeni Laasfeld (better known under the pseudonym Possimiste)  who has created an original soundscape inspired by the featured works of Woodward.

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