All things fungi at Somerset House: our Q&A with curator Francesca Gavin
Bringing together the work of over 40 leading artists, designers and musicians, Mushrooms at Somerset House looks at the colourful cultural legacy of fungi as well as the promise it offers to reimagine our relationship with the planet. We’ve been proud to support the exhibition, and continue our collaboration with the curator (and long-time friend of FRAME), Francesca Gavin. Here we talk to her about the fascination with all things fungi, and what informs her curatorial and framing choices.
Image © Seana Gavin
From John Cage to Beatrix Potter, you've gathered together some incredible works by artists, designers and musicians to explore the world of mushrooms. Can you tell us why you think mushrooms are in the zeitgeist and why this show is so timely?
The response has been incredible - when I started to become aware of the creative fascination of all things fungi I never expected this onslaught of interest. I think partly it reflects the climate crisis we are in and the driving need to learn and reconnect with the natural world. We are constantly discovering more about mushrooms and how important they are to the survival of ecosystems, forests, even our human microbiohm. They have become the ultimate metaphor for other worldly experience and knowledge.
Left image: Seana Gavin, ‘Mindful Mushroom’, courtesy of the artist | Right image: Alex Morrison, ‘Mushroom Motif’ (Black and Ochre), 2017, courtesy of the artist, care of L’inconnue Gallery, Montreal
How did you go about designing and curating the exhibition?
I had curated a smaller show on the subject in 2017. I started working on this much fuller expansion on the idea 18 months ago. It was actually quite easy finding artworks about the subject - so so many artists are working with mushrooms as a motif. The first room of the show looks at how artists are using mushrooms and demonstrating the rise of appeal, the second room focuses on the poetic and psychadelic nature of fungi and the last room focuses on more practical experimental use of mycellium in design. Pentagram oversaw the exhibition design - referencing ideas of traditional scientific organisation and turning that upside down, with a typeface and 3D printed sculptural forms that was 'grown' like mushrooms.
Left image: Beatrix Potter, Hygrophorus puniceus, pencil and watercolour, 7.10.1894, collected at Smailholm Tower, Kelso, courtesy of the Armitt Trust | Right image: framed Beatrix Potter illustration, courtesy of the Armitt Trust.
For the exhibition we've framed Seana Gavin in natural walnut - her collages framed full to the edge of the wood. For Beatrix Potter, we've created classic, thick square museum frames in a natural oak. Can you tell us what informed your framing choices for the exhibition?
I trust FRAME when it come to the choice of approach! For me framing always make sense when the choices echo the colour and nuance of the subject of the work. You want the frame to bring you into the work, enhance it, without distracting from the content. Seana Gavin has always used FRAME and developed her approach to framing from their start with the team. The Beatrix Potter works are loaned from an incredible collection of her work at the Armitt Museum in the Lake District and they had a clear approach to framing establish, which FRAME beautifully adapted to.
Seana Gavin, ‘Mindful Mushroom’, courtesy of the artist
Do you favour a particular framing style?
Yes - I admit I'm always drawn towards floating works rather than mounts. If I do have a mount I don’t like them very large. I like a shallow box frame. I admit I generally hate a pale wood or pine - it can look a bit cheap. Walnut or cherry wood - either stained black or white or in its natural form - is always beautiful. I love grain.
We've loved working with you over the years. Which is your favourite artwork framed by FRAME at home?
I love the Eduardo Paolozzi print which makes fun of American pop art that was given to me by my favourite edition store Modern Prints). The frame brings out the warmth of the colours in the work. They pop. Its such a funny, smart work and has a dose of nerdy art history that I love. I'm a sucker for 1960s British art like Paolozzi and Joe Tilson.