This work invites audiences to engage in a kind of three dimensional twister, as one of a group of people holding lengths of plastic tube in order to form geometric shapes just long enough to be photographed. Awkwardly gesturing toward the unachievable perfection of a platonic solid is an ideal way of contemplating our existence as a valuable artistic material.
In an age saturated by the digital, painting provides a point of respite amidst the chaos of the everyday. Observing how painting can act as a device to translate and construct memory, Views To Remember explores the capacity of painting to affect the way we see and remember the past. Informed by photographs taken in transit and wait, the works look to relay a narrative of loss amidst the disintegration of environments once known.
Recasting the relationship between the body and painting, Mantle/Mantel explores how material elements such as garment, sculpture, wall and lighting are implicated in the realisation of an artwork. Geometric shapes in the painting are reiterated in the surfaces of the garment, cast shadows and shelf: coalescing as a total composition. The resulting assemblage of surfaces elaborate Eckersley’s ongoing interest in the human subject implied in encounters with art.
Memory-work is part of ongoing research by Georgia Nowak & Eugene Perepletchikov into historical narratives and latent stories hidden in the Victorian landscape. Presented as an expanded narrative this body of work aims to increase the public’s connection with land and its complex past, retold and reimagined through investigations into material history.
Linking art history to literature and everyday life, Clock face, is a selection of new and old multidisciplinary works concerning the wider themes of memory and timing and its functions in delivering a message.
Emanuel Rodriquez–Chaves’ work aims to question contemporary painting and its mechanisms of production. His practice emphasises on the elasticity of painting as a medium and addresses the relationship between philosophical aspects around the manipulation of images and socio-political imaginaries. For this, he collects images, texts and documents that serve as the basis for his works.