A bath, with towel on towel rail, soap and bathmat are installed in the gallery. Every day before the gallery opens, for the duration of the exhibition, the artist has their morning bath. The bather is not seen, but the evidence is there in the form of a ruffled towel, wet mat and dirty bathwater.

The bath is seen to be simultaneously a place of cleansing and reflection, as well as a leisure activity for those with the time and means to enjoy it.

In an act of devotion that can be compared both to the ascetic rituals of religious devotees, the work that takes literally the assumption that devotion, commitment, persistence and a degree of suffering lead to enlightenment.

Also, by comparing the bath to an artwork (art object) the work, where the artist imbues an object with their life experiences, their efforts and their essence, the depositing of daily dirt into the bathwater questions whether the value is at times misplaced on artists rather than the works they produce.









Matthew Freemantle, on Seen and Not Seen:

“In Seen and Not Seen, the bathtub work, Lawrence will prove his interactions with it without showing them. We will see solely the evidence of his activity; the memory of it. A wet footprint, perhaps, or a crumpled towel. By repurposing the gallery as a working space, a conduit through which Lawrence passes, he draws attention away from the idea of finished works hanging inert on a wall and towards the lively, uncertain environment from which his works are made.