A VIA B
SIMON ATTWOOLL – NATHAN GRAY – HELEN GROGAN – EUGENIA LIM – TOBIAS RICHARDSON (USA)
+ 5 ARTISTS WHO’S NAMES WILL BE DISCLOSED DURING THE EXHIBITION
CURATED BY SIMON MACEWAN + JON BUTT
For this exhibition five works have been selected from the archive of c3’s past five years of exhibitions, and their respective authors have been invited to each write a short text that they feel embodies/encapsulates the intention or objectives behind that particular work.
Five more have been artists invited, each given one of the texts and asked to make a work interpreting the information contained in the text. The texts do not include any information regarding the physical manifestation of the works they reflect, only the objectives, methodologies and intentions of the artists.
The five artists making new works will complete these in the gallery space on the following days during the exhibition period:
Sat 29th June: Simon Attwooll
Sun 30th June: Eugenia Lim
Sat 6th July: Nathan Gray
Fri 5th July: Tobias Richardson (mailed from New York City)
Sun 7th July: Helen Grogan
How are we connected to beings that we’ve encountered through images alone?
How can we know them?
How might we become them?
The intentions behind this work were largely about transferring the experience of a previous work to new subject matter, both works were intended to reflect a fleeting moment of passion, pleasure found in a tangible experience combined with the grief of its passing.
To me this work is about abject beauty at its peak in both flourish and decay. I have been looking into themes of abundance and the essence of beauty as an ephemeral presence, as a form of purity polarized with corruption and decay. In this sense this work sits on polarities of ecstasy and grief, the experiential and the tangible.
The intention of this work was to create a piece that would reflect a confronting sense of darkness, suspense and void. The subject matter had to be strong in its simplicity and uncomfortably recognisable. A visual metaphor that I hoped would ignite a memory of haunting emptiness.
…context determines meaning. Medium is language. I had feelings long ago; I can remember them and when they changed. I still have the objects to prove it. In fact my memory scales up when I am feeling emotional, I repeat myself but they are no longer mine, they are just reproduced memories reminding me that I once felt that way about something.
Poems Of The Absurd:
The material language I use is instructed by throwaway culture and society’s reliance on disposability. The frenzy of today’s world can induce a feeling of meaninglessness. A kinetic element is often incorporated into these works to express human failure and the way machines obscure the way we perceive the visible world, the way technology provides and distorts the “prosthetic eye” through which we identify our constructed surroundings.
Thoughts On The Backward Nature Of Progress:
The poem, the assemblage is set-up to reveal how machines provide the lens through which we perceive the everyday world and to portray the absurd way in which technology impinges on one’s psychological state.
I want to use a material vocabulary to highlight the ways in which technology permeates language, commodifies the human condition and provides the glittery veneer through which one tries to make sense of the world.
How does one penetrate this veneer? And what lies beneath it?