VISUAL is pleased to present Now now by Andy Fitz.

“Now” uses language to record a passing moment in time. In Fitz's exhibition, an out-of-date present is rearranged in minute detail as though the process might reveal something. Time remains static – the food never grows mouldy. Unremarkable domestic objects are balanced across the gallery in precarious abstraction from their usual surroundings. “Now now” is also a phrase whose function and meaning is dependent on tone; it can be understood as a warning, or a consolation. The sculptures build on these unresolved tensions; the personal in the political, the present in light of the past.

The visitor enters the gallery through a small utilitarian corridor - the main galleries’ monumental wood panelled thresholds are blocked and replaced with domestic size doors markedly out of scale with the room. Although every identifiable object in the space could exist on or above a tabletop, the scale of the sculptures is hard to decipher. The objects - floating, balanced or pinned through centralised points - create macro and micro environments. They are supported by thin metal stands at table height across the gallery floor or hung like orbital planes from lamp cable.

In Fitz’s sculptures illusion and gimmickry plays a central role; a pile of books sputters and hums before emitting a puff of smoke. These sculptures might be read as relics, frozen forms that record impressions of an absent human touch, though this interpretation is disrupted by the individual objects. These appear repeated over and over like a continuity error; multiples of house keys, almond bowls, coffee cups and boiled eggs changed by the implied passage of time. This repetition creates a disorientating “stop-motion” effect amongst the sculptures; they become understood in relation to each other, rather than in their own right.

Files, binders, old found photographs and books imply a process of record keeping and a desire to put an order on time and memory. Doing so is inherently impossible; everyone remembers differently, and for different reasons. Memory, like the nature of Fitz’s materials, is mutable; open to use, misuse, interpretation, corruption. Memory failure can be understood as a technological fault but also a human one, prompting one to look again, and again.

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Andy Fitz (b.1989, Dublin) lives and works in Berlin, Germany. Recent projects include solo exhibition and performance 7PM, Guts Berlin, Germany (2025), and permanent sculpture commission A Mocking Shadow of a Doubt installed in Dartmouth Square, Dublin (2025). Solo exhibitions include Stumped! Again!, Kunstverein Göttingen, Germany, and

Lookieloo at Kerlin Gallery Dublin (both 2023). He has recently taken part in group exhibitions Staying with the Trouble at IMMA, the Irish Museum of Modern Art (2025) and Move Set Move at The Complex, Dublin (2023). Andy Fitz is represented by Kerlin Gallery and supported by the Irish Arts Council.