In the Kettle

‘she looks at the audienceshe listens- she speaksshe looks at the audience – they are movingthey are running – they are being arrestedthey are arresting’The images step aside in many times and places. None are imaginary – none invented. The only fiction is in the perspective. Reality is in the dialectic.Through the choreography of control which is reflected by the archives of surveillance, the mural moves through contradictions: the mural is not what is seen, but what is seen through. –Lis Rhodes, ‘dissonance and disturbance’ publ. The Institute of Contemporary Art London, 2012 ‘When watching In the Kettle which focuses on the topical subject of protest, then one may feel that Rhodes is only concerned with finding a way to get a message across, but her work has a visual richness that gives it another dimension. The use of bold compositions in her photographs which fade into each other creates a hypnotic, submerged state, as if she is constructing a dream – a mixture of real experience, news events, fantasies and fears.’ –Paul Hardman ‘Aesthetica’ March 2012‘Since 2009, photographing public demonstrations has been prosecutable under the Counter-Terrorism Act. At one point during In the Kettle, Rhodes cuts acidly from a violently contained demonstration to looming CCTV cameras, inequality articulated in seconds.’ –Martin Herbert, ‘frieze’ issue 146 April 2012Screening : no.w.here, London,‎ 2011 ; in Lis Rhodes, ‘Dissonance and Disturbance’, The Institute of Contemporary Art London, 2012 and The Tramway Gallery Glasgow 2012