‘When The Time Is Right’ solo exhibition presented by London-based artist Liam Fallon. For the show, Fallon brings together a collection of works on paper completed in ink and watercolour, a series of woodcut wall reliefs, as well as his first sculptural edition completed in fiberglass.

The edition, aptly titled ‘When The Time Is Right,’ delves into a distinctive motif synonymous with Fallon’s artistic identity – the brick wall. In the work, a slice of partially consumed bread emerges from a slot on the sculpture’s facade, presenting what may initially appear as an ordinary act intertwined with the commonplace. Yet, this portrayal transcends simple domesticity and serves as a metaphorical exploration. The depicted act is not focused upon for its inherent mundanity but rather as a symbolic representation of life’s inherent processes. The vanishing and re-emergence of elements in the sculpture draw poignant parallels to the ever-evolving nature of existence. ‘When The Time Is Right’ encapsulates the idea that, under precise and suitable conditions, transformative changes unfold, ultimately revealing concealed truths.

It is this notion of ‘when the time is right’ that seemingly underpins everything in this new body of work. Depending on how you look at the works, the concept of progression is at the centre, with all the elements in a state of flux and development. The large, outlined toaster and ghost-like forms seem to imitate the act captured in the edition, but they’re void of an expected finish – a texture, a colour, or a physicality that we can easily grasp. Now, the appearance once again refers to the process of time and, with it, the inevitable change and eventual progression. Here, the outline of the forms acts like a line in a sketchbook page and seems soon ready to be fleshed out.

In addition to these sculptures, Fallon is presenting a collection of works on paper, marking a first for the artist. These works, like blueprints for the future, signify a new realm of exploration. The act of drawing, perceived as one of the most primal human responses, initiates a process of envisioning and plotting out future possibilities and existences, all to be crafted by human hands. On paper, these envisioned works transcend typical physical constraints, such as the laws of physics or material limitations, granting them the freedom to morph into any form that the artist envisions.

Any initial idea starts with a simple mark or line on a page, and these drawings and sculptures by Liam Fallon act to imagine and envision a world free of the constraints that ultimately come as a default. A house of matches has the precarity to show how easy it is to take something away, but a house of pencils—the very tool used to envision a preliminary idea—shows how easy it is to start all over again.