The upper floor of the Circa Gallery became an insulated chamber in which Beezy Bailey’s latest installation, As It Is In Heaven, incubated itself in irrelevance. The work is a banal environmental warning about rhino poaching that fails to take flight beyond the literal.
The installation consists of a rhinoceros skeleton, heavily spotlighted, which has been repositioned into a grotesque kind of prance with plastic feather wings and a gold painted horn. A sombre classical soundscape reverberates through the space, adding nothing except to the ridiculously tacky tone of the entire installation. Bailey’s attempt to transform the cumbersome beast into an ethereal creature and thereby imbue it with some metaphorical significance fails. The cheap wings are not enough to lift the installation above the realm of the obvious, and the shadow on the adjacent wall achieves no more than to reflect the sensationalism of the artistic statement.
It is hard to understand what exactly Bailey was intending to achieve with the installation, because the reading is either too literal and sensational to take seriously, or the parody somehow lost.