Interview with the artist by Paul Schimmel.
Ingenuity has always been a component of Richard Wilson’s work and in Deep End it is taken to new heights – and depths.
The upturned fibreglass hull of a swimming pool elegantly mirrors the concerns of the second work Wilson showed during his MOCA exhibition, 20:50, an installation first made in 1987 and now part of the Saatchi collection.
In Deep End the Bahamas blue lining of the pool suggests water (a colourless liquid) but immediately refutes this by virtue of the holes punctures in its skin (the idea won’t hold water). Both are wonderfully poetic concetis in which illusions are caught, reflected and dispelled.