Xxijra Hii presents a solo exhibition of new work by David Micheaud titled 'Unhomely'. 

Join us for the preview evening on 23rd May 2024 at 6-9pm.

Exhibition runs May 24th - June 22nd. 

David Micheaud’s latest exhibition at Xxijra Hii is a compelling exploration of the "Unhomely," a concept rooted in Sigmund Freud’s notion of Unheimlich, initially and inefficiently  translated as ‘Uncanny’. Through a series of meticulously crafted paintings, Micheaud invites viewers to delve into the eerie beauty of domestic spaces, transforming the familiar into realms of unsettling landscapes, first person view points and moments of deeper contemplation.

The unhomely, or Unheimlich, as articulated by Freud, refers to the strange within the familiar - or more accurately, the familiar rendered strange. Freud’s essay posits that what is homely (heimlich) can also be unhomely (unheimlich), as these spaces often conceal hidden fears and subconscious anxieties. Mark Fisher expands on this in ‘The Weird and the Eerie’, exploring how the sense of ‘eerie’ involves unsettling absences or presences within the familiar. Micheaud’s work captures this duality, presenting everyday interiors as spaces that evoke both comfort and discomfort.

Micheaud’s exploration of the unhomely is a personal and long term endeavour. With the dawn of domestic computing, gaming consoles and IT being taught in schools, he spent moments of his childhood confined to quiet, closed-off rooms while his peers engaged in activities he could not participate in due to his experiences living with photosensitive epilepsy. These periods of enforced solitude allowed him to see his surroundings in a new light, finding beauty in stillness and solace in silence. This unique perspective profoundly influences his artistic vision, infusing his work with a sense of introspection and serenity. Through this lens, Micheaud transforms the mundane into the extraordinary. His paintings are characterised by slick surfaces, subtle colour palettes, and a meticulous attention to detail; often swimming in a contrasting sea of emptiness. 

This emptiness brings about the sense of ‘Ma’ (間), a fundamental concept in Japanese aesthetics and culture, representing an interval, gap, or space between two structural parts. Unlike the Western perception of space as a void or emptiness, Ma embodies a dynamic and relational space, filled with potential and meaning. It is the pause between beats in music, the silence that allows spoken words to resonate, and the spatial gaps in architecture and design that create a sense of harmony and balance.

Bringing about a totally new dimension to Micheaud’s otherwise solely painting practice; the exhibition introduces this concept in the form of two abnormally tall ‘Japanese simple chairs’, positioned in dialogue and offering a means for shadow to be cast. These spaces are designed to create a flow that enhances the overall experience of the environment. Traditional Japanese houses, with their sliding shoji screens and open spaces, exemplify Ma by allowing light and air to flow freely, creating a sense of fluidity and connection with nature. Micheaud represent this in the sculptures and paintings by offering a sense of horizon, architecture and organic matter being brought into the interior. It adds to a considered silence on the canvas that gives the subject of each work the room to breathe and resonate. This use of negative space draws attention to the placement and form of the elements, enhancing their impact. They combine to create an atmosphere that is both enchanting and slightly disquieting, inviting viewers to perceive their familiar environments from a fresh perspective. 

"Cheese Plant" presents a dusk scene where the shadow of a leaf is cast onto a wall. This painting highlights the connection between indoor spaces and the natural world outside. By bringing elements of nature into the home, Micheaud underscores the human desire to maintain a link to the outside, even within the confines of domesticity.

These paintings often depict domestic spaces as mirrors of the self, reflecting the emotional and psychological states of their inhabitants. The unhomely aspects of these interiors challenge viewers to confront their own subconscious fears and desires. For instance, a room meticulously arranged yet seldom used may symbolise the tension between outward appearances and inner realities. Similarly, spaces that evoke warmth and comfort can also hint at feelings of entrapment or monotony. 

Micheaud also employs the technique of defamiliarization, or ‘ostranenie’, to present common objects and spaces in unfamiliar ways. This approach, coined by the Russian formalists, is the central concept of art and poetry. The concept has influenced 20th-century art and theory, ranging over movements including Dada, postmodernism, epic theatre, science fiction, and philosophy. By defamiliarizing everyday interiors, Micheaud challenges viewers to reconsider their assumptions about their surroundings and discover new layers of meaning in the mundane. "Gas Hob" for instance, transforms a common and unremarkable kitchen appliance into an urban landscape reminiscent of a dawn scene from ‘Blade Runner’. The industrial metal surfaces gleam with an otherworldly light, evoking a futuristic cityscape. This piece blurs the line between domesticity and the broader world, suggesting that even the most ordinary objects can hold layers of unexpected meaning.

David Micheaud’s "Unhomely" is an expedition navigating the strange within the familiar. Personal experiences become a tool for exploring the interplay between solitude and connection. Isolation is not merely a state of being alone but a space for contemplation, self-discovery and identity. Micheaud transforms the domestic into realms of unsettling beauty and introspection. His work invites viewers to confront their own subconscious fears and desires, offering a fresh perspective on the concept of home. 

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