artists & participants
I am a wonder whose origin is not known. I have been in Asia with Noah in the ark..'
Artists T1+2 will be presenting:
ALEX HAMILTON We do not trust space. Changing something on paper we must visualize space. Spatial qualities are only as we find them and not as we wish them to be while they are under construction. My work is effortless to absorb and the 'message' simple and surprising. Some ideas are out of date, useless, decayed, even toxic, and there is a lots of data or information which is similarly so. "Data exists in physical formats, data waste is sometimes a factor of the deterioration of its material base (such as paper or film), and sometimes caused by a change in technology. attacks on data are often made through its material.
MARTIN SEXTON '(a) Motor-bike with a touch of blood in it is better than all the riding animals on earth, because of its logical extension of our faculties, and the hint, the provocations, to excess.' - T.E. Lawrence The Road In an effort to fuse science's invasion of the imaginative territory with art's inherent, pseudo-mystical value - this 'sculptural poem' a Harley-Davidson XL53 Custom resplendent with Crow's wings and 'pimped' with a DVD monitor as tail-plate; explores the poetical & mythical devices of the origins and subsequent tales of Pegasus. This work is concerned also with freedom and consequently like Pegasus itself, it is equipped for transportation - a working and moving sculptural poem. Martin Sexton - a genuinely controversial artist whose work continues to divide opinion - describes himself principally as a writer first - this 'sculptural poem' forms part of his on-going 'Physical Literature' series. He has had one previous publication 'We Love You' as well as numerous poems and short stories published. His work has most recently been exhibited at the Port Eliot Literary festival in Cornwall,'Go Between' in Bregenz, Austria as well as Saatchi & Saatchi, the ICA and the Venice Biennale & most recently at 'Protect the Human' - an Amnesty benefit in London. He is a founding participant in The Salon at Blacks, hosted by Sacha Craddock & James Putnam. He lives and works in London.
ALEX DE CADENET Not only a metaphor for 'who people are inside', the skull portraits offer a sacred glimpse of the subject's mortality, the inevitablity of their eventual Destiny.The artist describes the works as 'a forensic record of the subjects existance'. I believe that we are all 'artists'; how we live our lives is the ultimate and most significant 'artwork'. Making 'art' in a tangible form is just one, albeit sacred, activity in this life. My art is a record of my deepest thoughts and feelings about being alive.... Whatever causes us to question or re-evaluate our lives has a very useful value. Anything that attempts to explore the mysteries in life, in particular the exploration of how our destines evolve is of particular interest to me. One should ultimately strive to do whatever it is that one really wants to do in life (and death), that is the ultimate goal..."
POLLY MORGAN I am new to making art. I became a taxidermist through my love of animals and a desire to preserve their natural beauty and have gravitated towards making still lives with the animal as subject. My intention has never been to mimic the natural habitats of animals, as they are traditionally displayed, but to place them in less expected scenery. The scale and settings are often unnatural, but the animals are never anthropomorphised; they remain recognisably themselves in surprising surroundings. The white rat sits snugly in the champagne bowl; it almost looks like a scoop of furry ice cream. I enjoy the fact that that two such opposites should fit together so well. More of my work may be seen in a permanent installation at Bistrotheque in east London, for whom I have produced a number of phantasmagorical bell jars. I am currently working towards a show in spring 2006.
WOLFE LENKIEWICZ Emblematic Psychosis I have entered into a contract with painting, which is not to critique it, but rather to use it as an illustrative guide, which presents absolute rebellion of its pictured elements. Painting rather than collage is preferable in this instance as it allows for the transformative as well as the juxtaposed, both of which I consider allies set against any prevailing law. I have chosen a set of emblematic images, each of which has a shared family resemblance. I then take this established absolute set, which I see as inaugural, and create within it a revolt. (A principle followed by the mathematician Georg Cantor.) The turning upon itself of the emblems causes the revolt.This cannibalism devours their logical familial law, as Ugolino did to his sons.The result of this 'family suicide' is an open space to contemplate both the original meaning and its resulting disobedient hybrid self. From this space of contemplation is founded the new folly. It is self-f! ounded, abiding outside the rules of its class, tempting others to read it logically and let new foundations close around it like water. The introduction of consciousness to the emblems irritates and provokes the former codices of their order, revealing a struggle or tension between the meanings.The inexplicable and illogical nature of this meaning is ungraspable not because of its being new, but because it has retired from its normal use and, as if in a folly, taken up a different part in its script. This disobedient script, which invokes emblematic psychosis, breaks from the prevailing routine like a soldier marching out of time. The emblems become nonconformist to the law and "break from the figure of knowledge which becomes the figure of slavery...a law of death." (Alain Badiou).
PAUL FRYER I like the natural world, of which we are products. We are natural, and so is what we make. I love mankind and I love nature."
Paul Fryer Lives and works in London. He has contributed to various group shows since 1996 and has just had a very successful solo show, Carpe Noctum, in April of this year. The object presented here shows work in progress on a series inspired by the perfection of the egg, and the beauty of nests. Paul is currently working on a number of pieces, including a speaking atom bomb and a gigantic lightning machine, for shows pending in Dallas and London.
LIANE LANG Composure The work orchestrates a slippage between the real and the fake, between a familiar scene and a re-reading as still life. Deprived of self-consciousness, they are void, uninhabited positions, providing a space to pause, like their protagonists, in mock reflection. In this indeterminate state, meaning is lost and once reestablished can never regain its definitive nature. "The image is first cut from the visible. Movement is held up, suspended, inverted, arrested. Cutting is more essential than presence, both by framing and by the controlled purge of the visible." 1 Skirting affectionately a line of waiting issues concerned with the role of photography in the provision and disreputation of visible proof, what remains is a more specific question about the cutting edge of the frame. What sets out to be probing the less controversial but finer detail of the circumstance when an image was constructed, becomes a tug of war between the formal and the narrative, the c! lassical versus the romantic, between particulate matter and the wavefunction of the poetic imagination. DON'T COLLAPSE. DO COLLAPSE.
only in german
Künstler: Alex de Cadenet, Paul Fryer, Alex Hamilton, Liane Lang, Wolfe von Lenkiewicz, Polly Morgan, Martin Sexton