Catalogue Essay by Stephen Burke
I first became familiar with Sam’s work through Instagram a couple of years ago. Despite being geographically distant, there is a convergence of interests shared between us. One focal point of this convergence is how art in the gallery learns from the street.
More specifically, let's examine Bloor’s most recent work, where sculpture and photography intertwine to comment on ideas like marginalization, social exclusion, and the ongoing negotiations of control within our
communal spaces. Bloor's exploration of anti-homeless and antiloitering devices serves as a catalyst for viewers to contemplate the profound impact of these design choices on individuals. By juxtaposing opulent materials like marble with these hostile architectural elements—symbols that often signify the unwelcome stance toward lower social classes—Bloor compels us to question the values and priorities of society, as well as our treatment of the most disadvantaged members. These devices only serve to further isolate and stigmatize those who are already marginalized. One poignant photograph captured by Bloor features a polaroid image depicting a sign that reads, "Please don't pick the flowers," accompanied by an anti-loitering
spike pilfered from a Gucci store in Italy.
Bloor’s construction of the large blue sculpture Bribe in a barrier-like stance within the gallery creates an intentional disruption, compelling viewers to navigate and interact with the space in a different way. By obstructing the customary flow of movement, the sculpture challenges viewers' expectations, forcing them to confront the artwork as an interruptive object. This physical barrier serves as a metaphorical symbol, inviting contemplation on the barriers and boundaries we encounter in our daily lives—whether they are social, cultural, or political in nature.
Another sculpture Coax features a unique form, with marble attached at a 25-degree angle, its design evokes the essence of a lectern—a platform from which authoritative or resistant voices often address and rally support. This deliberate choice of form encourages viewers to further think about the power dynamics and symbolic significance associated with the lectern. It sparks thoughts about
authority, resistance, and the potential for social or political mobilization that can emerge from such platforms.
Sam's photography practice delves into similar themes, exploring the concept of territorial control through the utilization of over-painted graffiti by local authorities. Bloor focuses his lens on these instances to reflect the dialogue between those who mark public space and those who clean it, reinforcing the idea of public space as a contested arena. Many of these photos humanize the individuals affected by these actions, capturing the painterly remnants of those whose illicit messaging is covered or erased.
Ultimately, the intersection of social exclusion and design protocols forms the backbone of Bloor’s latest work. He questions our current practices and stimulates a wider debate about the politics of our civic spaces and how we can make them more habitable for all parties.
Stephen Burke, 2023