Arms are spread, hands are grasping, lips are puckered: everything in Jonathan Baldock’s eerie, uncomfortable, strange exhibition of tapestries and ceramics at Bristol’s Arnolfini is reaching out to you. The whole exhibition is an invitation to be held, or maybe its cuddliness is a threat, a violent trap.
The English artist has created a tense world of folkloric psychedelia and pagan aesthetics here. Don’t read any of the bumf on the wall, it’s couched in gentle, therapy-lite language about “radical gestures” and “holding space for queer and working-class stories”. It doesn’t fit the show. Not that this isn’t about queerness and the working class, because it absolutely is. It’s just that this isn’t gentle and soft art, it’s weird and threatening and menacing – that’s why it’s so good.
