Richard Box has been developing ‘Microwave’ with the assistance of the Physics Department at Bristol University. Flashes of lightning inside a domestic microwave prompt multiple interpretations on themes of technology and natural phenomena. 'Yeah, yeah, chips in your hair' (top right) is a series of photographs taken during a performance by the artist.
Sean Branagan projects video images of people and places onto painted, layered surfaces and structures to create moving, three-dimensional ‘paintings'. The use of mirrors and CCTV/live video, means the viewer is unavoidably recruited as a participant in the work. In ‘Past Echoes’ (middle left) he combines pre-recorded images of the room and people, with live action, presenting a distorted version of the viewer’s own environment.
Cath Ferguson’s two paintings demonstrate a careful positioning of elements across the canvas and within the parameters set by the edges of the painting that characterizes her attention to issues of form. Approximations, as well as contrasts, in colour and surface subtly unhinge perceptions of balance and order. Cath has had an article published this month in ‘Turps Banana’ (issue 2) edited by Peter Jones and Marcus Harvey, which was recently launched at the ‘Art Car Boot Fair’ in London.
Paul Helliwell’s recent pre-occupation with line and drawing has been typically expressed using tangled skeins of poured paint bottom right). This has led to a new objectification of line using plastic tubing (0150; attached in front of, and separated away from the painting surface. The objectification of line has created a conflict of identity within the work that is apparent as the viewer recognises the line’s reality whilst at the same time needing to return it back into the painting seeking to assign it a more familiar role.
Ian Johnson often exploits reflective surfaces to manipulate the expansive and spatial qualities they imply, however the small piece ‘green/grey’, works differently. The viewer encounters a more intimate experience reminiscent of glimpsing our own reflection in a bathroom mirror. The piece is in two very distinct halves that disrupt the reflections in different ways. Ian is currently completing a residency at the Florence Trust, Islington.
Ian Skoyles makes montage pieces from jigsaw puzzles. ‘Louis XIV in his State Coach, c, p, n’ is one in a series that combines and re-assembles different jigsaw puzzles to produce new ‘paintings’. Ian was recently in ‘Art Out of Place’ at Norwich Gallery and Museum.
Seamus Staunton’s small wall sculpture ‘Buoy II’, is a highly particular, wooden object, with a small aperture at the front that excites curiosity. A peek closer and a rich, red flock lining can be seen receding into the gloomy interior. This piece is as much about what is inside, what can’t be seen or experienced properly, as that which is directly on view. Seamus has just been commissioned by Look Ahead to collaborate with architect, Christina Brandenburg, to design a large ceiling installation for the foyer of a building in Earls Court.
Laura White uses video extensively in her work. In particular, moving images of animals are manipulated, and re-positioned onto three-dimensional objects. ‘Pretty Boy’ (bottom left) consists of a large bouquet of flowers in a vase, overlaid with the image of a parrot preening itself. As the two elements combine, an ethereal quality pervades. Laura has recently exhibited at the Three Colts Gallery and The Lucy Mackintosh Gallery Lausanne, Switzerland.
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