China syndrome is a very large and thoughtful message in only two words. There are also only two cabinets in the exhibition but they mean a lot and are not picked at random. We find ourselves as travellers, voyaging toChina, and connecting with chinaware and its display. The relationship to museum practice and presenting an exhibition is critical, and ceramic modelling is at the heart of it all. What a story, told primarily in clay, metaphors, antonyms and analogies, and done so with humour and comedic wit compounded by fun. What a story wrapped in memory, heritage and intimacy. What a story to enjoy!
Keighery succeeds in China syndrome because of the humorous and the taxonomy of memory. One allows us to smile and relax while the other allows us to become an involved participant. What more can we ask from an exhibition and its inner meaning? Narrative and story telling; irony and metaphor; emotion, humour, fun and splendour; imagination and fantasy; political and social awareness; skill and creativity all add to the diversity of Keighery’s China syndrome. So, enjoy.
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