Working across sculpture, collage, installation and other media, Mexican-born, Brussels-based artist Gabriel Kuri is fascinated by the logic of everyday objects and resources. Often using repurposed materials - natural, industrial and otherwise - he links questions of form with how we value, circulate and assign function. Playing with the principles of minimalism and the history of consumption, he considers the information of materials and information materially.

For his first solo exhibition in Ireland, Kuri presents a new site-specific installation that recasts the cavernous architecture of the Douglas Hyde Gallery, creating a static field to reduce the building's energy use during the run of the exhibition. The large-scale installation drastically transforms the space. It is made up of a makeshift dropped ceiling littered, in a seemingly accidental accumulation, with residues of human interactions and life; coins, cigarette butts and moths. Each smoked cigarette or coin becomes a remnant, a punctuation mark in human interaction. Thousands of these punctuation marks are gathered and composed in a grid-like format within rectangular wooden frames across the space.
 
This ambitious work is accompanied by a smoke drawing traversing the gallery walls, achieved by burning sheets of paper printed with figures relating to the logistics of this structural intervention, and an itemised estimation of the cut in the energy bill it should bring about. Alongside both, Kuri is showing a selection of new and recently produced thermally insulated sculptural works.

Kuri's gesture not only sets into motion a system that regulates an exchange of energy, money and labour, but it also functions as a looping proposition: an occasion that speaks about its occurrence, a space that assesses space, a possibility that reflects on possibility. For Kuri art is always philosophy; it is “one of the ways in which art can be radical. It’s about transforming and reinventing what is around us.”