In so doing, Basher invokes unspoken drives, the mundane and exclusive, the highbrow and lowbrow, and the public and private impulses that inform us as consuming individuals.

In a gallery setting, these arrangements read with all the trappings of ultra high-end retail.

Yet unlike conventional retail display, Basher’s selections of goods upset the expected heirrachies and divisions between products.

A dusty sprinkle of illicit powder even coats the shelves.

In product, the sketchy outlines of a fraught protagonist emerge.

a single robotic light scans the room, tracing the space and highlighting the features and facts of the architecture.

Galleries are charged spaces, framing objects, events and activity within them as art.For a nearly a decade, Basher’s practice has focused in on the forms and imagery of retail space.The sharp linear forms of commercial display materials, including acrylic sheet, mirror film, fluorescent lights and extruded aluminium, along with the saturated hues of liquor, mouthwash, hair products and holiday advertizing have become an enduring lexicon for the artist.This investigation also formed the basis for Basher’s doctoral research, which situated his work in the rich lineage of art-makers concerned with commercial display[1].Consumption is now an integral part of life; Basher’s practice is a consideration of the ways consumption sites and consumption choices reveal unspoken aspirations, longings and urges.But then, as it becomes apparent that the stage has already been set, an experience of event is made manifest.