Archives for posts with tag: cosmic rays

I have put together a short video documentation of Scales of Intangibility an interactive installation set in a black velvet lined room made during my Studio4 residency at Chisenhale Art Place. Immersive projections of particle trails, filmed from my cloud chamber experiments, make visible the activity of cosmic rays and background radiation that pass through us continuously without our awareness.

1804 documentation scales 4.jpgThrough experiencing this usually unseen activity of particles that shower down on us when cosmic rays strike the edge of the earth’s atmosphere we can begin to think about other possibilities of what might be present in our universe that we are currently unable to interact with such as dark matter.

Excited to hear that in 2019 Science Gallery London will be exploring dark matter with a scientific and philosophical investigation into the fundamental nature of reality, taking  the theory of dark matter as a starting point for conceptual investigations and experimental forms of inquiry.

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Original dark matter detector Boulby Underground Laboratory

The text In the Dark by Alexander B. Fry will be one of the texts discussed during the upcoming Laboratory of Dark Matters event being hosted by Guest Projects as part of their 10 Year Anniversary celebration weekend.

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Short texts which have a relationship to the exploration of dark matter as a scientific or philosophical concept will be presented to stimulate questions and encourage shared knowledge across disciplines and perspectives. These will also include excerpts from Joyful Cruelty: Towards a Philosophy of the Real by Clément Rosset – translated by David F. Bell, 1993 and Edward Irving’s 1905 How To Know The Starry Heavens.

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The New Materialisms Reading Group I attend has been persevering with Donna Haraway’s Staying with the Trouble: Making Kin in the Chthulucene. It has had an influence on the work I am making for the upcoming exhibition at Ugly Duck Lumen: Cosmic PerspectivesThe exhibition aims to inspire a change of thinking through highlighting the precarious nature of life, and the extraordinary set of circumstances that allow us to exist, in an otherwise, possibly, lifeless universe.

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I have been out taking new photographs in local paradise locations to use for submīrārī (earthbound). Printed on organza, the ethereal images will float in water in earthclad bowls, landscapes fluctuating on the cusp of disappearance. Donna Haraway, drawing from Latour, proposes the ‘Earthbound’ as those humans who are ready to rethink and create new narratives with Gaia at the centre, who recognise the entanglement of society and nature and aim to pursue a ‘nonarrogant collaboration with all those in the muddle’. The shift in perspective embraced by the ‘Earthbound’ embodies a grief shared with other species at loss of habitat and disappearing landscapes. It is not a nostalgia for paradise lost but a reappraisal of what paradise could be. The scenes depicted in this work, sourced from prosaic locations named Paradise, aim towards deconstructing a romanticised ideology and bringing us down to earth.

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We must stay with the trouble. It is important to care. ‘We are all responsible to and for shaping conditions for multispecies flourishing…’.

So glad I got to see Marcus Coates exhibition at Workplace Gallery. He shares a similar sensibility to Haraway regarding response-ability and interconnection to other species. He engages in new ways of thinking through humour and pathos. In The Last of Its Kind  a video where he faces the ocean naked, desperately shouting a list of human achievements at an indifferent landscape he brings home the insignificance of the human in the history of Gaia while in Apology to the Great Auk the extinction of this once numerous flightless bird is placed firmly on our collective shoulders.

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Extinct Animals is a collection of Plaster of Paris casts of the artists hands taken whilst performing the extinct animal’s shadow. His work is absurd, painful and joyful.

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Lorna Simpson’s beautiful show Unanswerable at Hauser & Wirth London questions the archive, how we hold onto the past through artefact or memory, ultimately all of this will dissolve away despite out best efforts.1804 Lorna Simpson

Looking through the prism of media presentation of women and the African American experience as portrayed in magazines that reflect a different era.1804 Lorna Simpson 2

There is an appeal in the aesthetic of old magazines, a nostalgia could be evoked. Or it could just be a painful reminder of issues that are still to be fully resolved.

 

1804 1953 Cosmetic RaysThe Tate screening of Jean Painlevé’s documentary films Silver, Photons and Liquid Crystals was a rare chance to see his abstract films made between the early 1930s and the late 1970s on liquid crystals, photons, diatoms and silver nitrate. It was an odd mix of science and psychedelia. Painlevé used the microscope and modern optics to reveal the natural world in intricate detail. I particularly wanted to see the early films of photons and silver nitrate but it was quite hard to decipher and at times the bizarre commentary was distracting. The programme’s finale was rewarding with some stunning footage of liquid crystals.

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Jean Painlevé Phase Transition in Liquid Crystals

Micro to wide angle but with a shared curiosity to re-present the world beyond our natural senses. Andreas Gursky at Hayward. ‘Driven by an interest and insight into ‘the way that the world is constituted’, as well as what he describes as ‘the pure joy of seeing’, Gursky makes photographs that are not just depictions of places or situations, but reflections on the nature of image-making and the limits of human perception. Often taken from a high vantage point, these images make use of a ‘democratic’ perspective that gives equal importance to all elements of his highly detailed scenes.’

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I still have to finish editing the video filmed in the velvet chamber in collaboration with dance artist Paola Napolitano exploring theories from Laban and Plato. The process can be maddening and slow when you are new to the software. I am trying to get to grips with After Effects to clone out some unwanted light reflections but keep finding myself in a black hole and having to start again.

1804 video stillOn the horizon is new work for In Search of Darkness an exhibition curated by Lumen in Grizedale Forest to highlight the importance of preserving dark sky areas and raise awareness of the ecological problems caused by light pollution. My proposal is to create a suspended sculptural print that demonstrates, through the choice of materials, that adding light doesn’t always make things more visible. To relate the loss of knowledge of the night sky through urban light pollution to the unknown mysteries of the universe yet to be revealed.

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Blinded by the light. Great sun spangled woodland scene in an inspiring show from Christiane Baumgartner Liquid Light at Alan Cristea.

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Enjoyed a visit to see Sam Hodge in Surface Tension with Andy D’Cruz and Marcia Teusink at The Stone Space. The works explore the idea of surface tension as a force and a potency between objects and materials.

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Tense with anticipation. Totally enthralling story telling from mythologist Martin Shaw. A woman arises from a mare’s tale plant with red beads falling from her mouth as she speaks, and a king’s son tied to the top of the tallest pine tree, is slowly becoming a crow.

Down below the forest path splits into two. One path is that of the sable. The other path is that of the bear. One is good. One is very bad.

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A second visit to experience the powerful performance of Simon McBurney in The Encounter. Inspired by the book Amazon Beaming by Petru Popescu he tells the extraordinary story of Loren McIntyre, a National Geographic photographer, who in 1969 found himself lost among the people of the remote Javari Valley in Brazil. It was an encounter that took him to the limits of human consciousness and questioned his idea of reality. The evening ended with Marcus de Soutey joining Simon McBurney for an open discussion on what consciousness might be, how it can be experienced collectively, how we determine reality, non-linear time and what happens when we die.

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The dead live on through our memories. Retrieving memories is a dynamic process – every time you recall a memory you have to repeat a pattern of signals – this is how memories change as the pattern changes or becomes incomplete. It’s interesting that there are alternate pathways in the brain to the same or a similar outcome.

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National Geographic reporter Loren McIntyre had his world illuminated to other ways of thinking I wonder if Martin Pomerantz Trailing Cosmic Rays in Canada’s North in 1953 ever had a similar experience, maybe he encountered some women with interests other than cosmetics.

 

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I had a very productive time during my Studio4 residency at Chisenhale Art Place. It was great to have so much space. I got started by putting up the hydroponic tent to run the cloud chamber to get some more film footage.

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I also ran a Cloud Chamber Workshop where lots of particle trails were spotted. The cloud chamber gives us a glimpse into the invisible world of particles produced in the radioactive decay of naturally occurring elements and those generated when cosmic rays strike the top of the Earth’s atmosphere.

My call out through Chisenhale Dance Place for a dance collaborator was successful and I met up with dance artist Paola Napolitano She has brought lots of brilliant ideas to the project with her knowledge of Rudolf Laban’s choreutics theory and her own interpretation of the dodecahedron as a Kinesphere, ascribing sequences of movement to the peripheral lines and planes within the shape. She shared some of Laban’s wonderful drawings with me

and pointed out his quote; ‘Space is a hidden feature of movement and movement is a visible aspect of space’ 

I then began building the velvet chamber.

Next I needed to make the small screens that the audience would use to ‘capture’ the filmed particle trails which would be projected in the chamber lined with thick black velvet.

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This took some working out to fix the joints but in the end a combination of glue, V nails, double sided tape and veneer pins seemed to be strong enough. I used tracing paper, projector screen fabric, white cotton, polyester, organza, styrene, acrylic and wood as different substrates to give different effects and emphasize the porous/solid nature of matter.

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The particle trail footage was edited together and the projections in the chamber tested.

1803 velvet chamber projections 2Some unexpected effects appeared.1803 velvet chamber projections 1

 

I spent quite a while looking at different projector options. When it was time to film Paola I used a pico DLP for darker shots where just her body was visible and a more powerful HD projector for other shots.

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There was a lot of footage to go through and only a week to the opening event. This was my first video work and I was learning Premiere Pro on the hoof.

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Movement choreographed and performed by Paola Napolitano was filmed in the velvet chamber.

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This work builds on recent research that began with wondering what fundamental elements make up the landscapes around us leading to the discovery that less than 5% of the universe is visible.

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Within the unimaginable vastness of the universe we trace our paths continuously permeated at a quantum scale by cosmic rays fired into our world by high energy collisions in space.

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Plato described the dodecahedron as the fifth construction that ‘the god used for embroidering the constellations on the whole heavens’.

There is also a contemporary theory that the universe may be the shape of a dodecahedron, not infinite but with no boundaries this is known as the 3-sphere universe theory. If you left the dodecahedron at one point you would immediately re-enter at another point

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Rudolf Laban was influenced by Plato and the geometries of the platonic solids. His choreutics theories open up new languages to describe interactions between matter and space.

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‘What we cannot perceive with our senses, especially our fundamental sense of touch, remains unreal and its very existence is denied, until intuition or research discovers the unique and universal role of movement as a visible aspect of space’ Laban

 

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Laban Archive – Dodecahedron without six of its pentagonal sides, demonstrating a diagonal orientational axis with a circular void around it representing a circular movement. Model made with metal, painted wood, wool and shoelace.

 

The simple sound edit was a slow transition through the chromatic scale which is a scale with twelve pitches to echo the 12 sided dodecahedron and some added Geiger counter signals converted to an original chromatic scale composition. The video was screened at the open event Scales of Intangibility and it was a relief that Paola was pleased.

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Interesting  interactions happened in the velvet chamber.

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The polyhedral screens worked well to view the projections and ‘capture’ trails, ( a white shirt worked well too ) and I really appreciated all the good feedback from visitors.

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Now the concept has been tested I am keen to take the idea to new places. Hopefully it can be developed into work for my open door residency Beyond at Allenheads Contemporary Arts.

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While at Chisenhale I had the privilege of experiencing Lydia Ouramane’s The You In Us exhibition at Chisenhale Gallery alone on the floor, letting the reverberations from the underfloor transducer speakers course through my body while reading about the extraordinary tale of her grandfather pulling out all his teeth to escape military service and the night her dogs were kidnapped from her roof terrace. The sound piece is called Paradis it is about waiting for something better to come.

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It is a subtle interaction that makes the seemingly empty space personal. My body is here, I can feel the effects and I will leave traces of my visit as I enter and leave pushing against the heavy silver oxidised doors, as with every visitor’s touch, slowly revealing the silver beneath.

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Enjoyed an afternoon screening at LUX with Catalyst Arts presenting Looking Aside. Laura McMorrow’s The Lost Acre had a fragile materiality, creating unstable ground of the sort that might give way and open passages to other realms.

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I knew we were in for a treat as Peter Glasgow was involved in the selection of films to compliment Seamus Harahan’s BL CK B X exhibition: shiny wet stones.

Fred Butler Harmonics in Space was not quite the zen experience I had been expecting. There was certainly a lot of energy going on at the private view.

 

And as Laban states ‘Matter itself is a compound of vibrations’ 

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The end of summer. Time for Laboratory of Dark Matters take down at Cleveland Ironstone Mining Museum.

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During the six week exhibition and many trips to the north east where we were made so welcome I became very fond of all those involved at the museum and the dramatic backdrop of the North Yorkshire coastline. Sad to pack the work away and leave.

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Boulby Mine became a familiar sight and distinct reminder of the surreal journey underground and project conception over a year ago.

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It was a genuine coming together of disciplines and communities which I think we all gained from. Pinning my hopes for the future on similar undertakings.

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We are better together.

 

 

 

Straight onto making new work for Deptford X Fringe show Supposedly Predictable Phenomena with [ALLOY] artists.

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Etching 12 plates, then screen printing the centre circles as 4 colour separations. The printed images are from crystal ball photographs taken out in the woods.

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A portal for the imagination as well as a folding in of space.

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Meanwhile I was invited by The Institute of Physics to speak at the INTERACT conference in Birmingham. I was able to participate in some interesting workshops alongside the physicists  and listen to Jim Al-Khalili and Alice Roberts in conversation about the shifting perspective of the academic world in relation to public outreach and the role of women in the sciences.

I was introduced to The Planeterrella, an incredible artificial demonstration of the Northern Lights. The aurorae are created by charged particles from the Sun travelling along the Earth’s magnetic field lines and exciting our atmosphere.

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In this experiment most of the air is sucked out of a glass chamber to recreate the conditions about 100km up in the Earth’s atmosphere. The large sphere represents the sun and the small sphere the Earth which contains a very strong magnet to represent its magnetic field. A voltage is sent from the Sun to the Earth to recreate the solar wind which excites the electrons in the field enough to give off light at characteristic frequencies.

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Listened to Gravitational Waves

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and picked up a useful leaflet on cosmic rays which were first discovered by Victor Hess in 1912 using an electroscope to measure ionising radiation in the atmosphere 5300 metres up in a hot air balloon. The higher up the higher the radiation therefore the effect must be caused by something extra-terrestrial.

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One high energy primary cosmic ray gives rise to a cascading shower of secondary particles that scatter across the earth, colliding and decaying in a constant stream. Mostly passing straight through us and the matter around us but sometimes there will be a direct hit at a subatomic level from a particle having travelled from outside our galaxy.  1704 Cosmic Trail 3

Lizzie Cannon ‘Liminal Matter’ at The University of Greenwich explored the constantly shifting dynamic of the shore and its material.  Through the process of art-making, critical reflection and dialogue; this exhibition continues Lizzie’s research to address questions around human and nonhuman agency, temporal and spatial flows of matter and meaning, and an ontological fluidity that allows for an understanding of materiality as a reciprocal and generative relationship between humans and environment.

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Lizzie Cannon detail of the mighty In transition

Wandered the set at South London Gallery of Tom Phillips IRMA: An Opera Opus XIIB. This 1969 mini opera was drawn from Tom Phillips magnum opus which was in turn born from an idea that he would alter every page of the first book he came across for 3d. W H Mallock’s 1892 novel A Human Document thus became A Humument. 

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Further wanderings during London Open House weekend led to the architectural hybrid of Lloyd’s Register.

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Hidden within the Richard Rogers glass and steel is Collcutt’s palazzo with grand marble staircase leading to the ornate General Committee Landing dominated by The Spirit of Maritime Commerce 

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and the bronze frieze sculpted by Frank Lynn Jenkins, inlaid with silver, mother of pearl, turquoise, coral and pearl.

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1710 Lloyds Register bronze Frieze

The landing opens onto the Italianate opulence of general committee room with its barrel vaulted ceiling and more exposed left breasts of various symbolic maidens

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Lloyd’s Register was founded in 1760 in Lloyd’s Coffee House as a means of registering the seaworthiness of wooden commercial ships sailing from British ports. An attempt to plan and predict.

A tight turnaround from ideas, to making work, to installation of Supposedly Predictable Phenomena at no format Gallery in time for Deptford X.

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This was new work that investigates the themes of sequence and consequence

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Contained Nascent
Acrylic, wood, water, powdered minerals.
Lauren Ilsley, 2017

Apparently linear processes, psychological and physical, are rendered unpredictable and essentially chaotic due to their inherent and entangled sensitivity.

‘Supposedly predictable phenomena’ relates to the concept that if all contributing factors could be mapped and understood, then the outcome, theoretically, should be predictable.

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FixPoint 36
Steel mesh, wood, acrylic.
Jessie Sheffield, 2017

The results of this is a calculable universe and suggests a trajectory that is not only logical but also predetermined.

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Tools for Transition
Ceramic, aluminium, wood.
Lauren Ilsley, 2017

This raises the question of the alternative – Chaos Theory, and in turn free will.

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Duodecimēns
Etched aluminium, screen print. 12 pieces.
Susan Eyre, 2017

Duodeci – 12    mēns – minds……or Twelve thoughts, one from each multiverse

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no format gallery space worked well for us, if slightly on the edge of the festival bounds. It faces onto Propeller Foundry with 4 floors of artist studios many of which invoke studio envy with their big windows and vast spaces. Found a few old friends in here. There was some opportunity to head out to see some of the other work on show around Deptford.

Ambient Occlusion was another excellent curation at Gossamer Fog. Muted as the first step towards the synthesis of human and computer, the attraction of virtual reality evident by the queues to experience Jakob Kudsk Steensen’s Terractic Animism. It was terrific. Hyper-real. Which cannot be conveyed in this image or the Vimeo link demo.

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Other mesmerising work was Alan Warburton’s 3 channel video Primitives

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and Katriona Beales video with mixed media Working Table II

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Bearspace was showing Bella Easton Breath

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colours slipping from muted to monochrome, an enveloping tangle pieced from oil painted linen still scented with the mediums of its construction.

In the bare bones of St Paul’s House Tom Ireland placed three screens showing voyages across the sea or the galaxies. The Heavens (Deptford Observatory) places the local dockyards and observatory at the centre of the universe from which we embark.

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New Scientist Live 2017

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Best thing I saw in some ways was these extraordinary fanged tubes of flesh that hold the clues to longevity but I did feel for them being thrust under the spotlight. Exposed. Naked indeed.

 

After months of anticipation we finally crammed into the miners cage and made the 7 minute descent 1100m below ground to visit the Dark Matter Research Facility at Boulby Mine near Whitby on the dramatic north east coast.

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Led by astrophysicist Dr.Chamkaur Ghag and his colleagues Emma Meehan and Chris Toth we were transported to a hot and dusty world beyond the reach of cosmic rays and background radiation that would distract from the search for the illusive dark matter particles.

Kitted out in orange boiler suits, heavy boots, hard hats, safety goggles, ear defenders, shin pads and tool belt we were inducted into the safety procedures and alerted to the hazards of life underground. The most alarming was the  instruction on use of the self rescuer (a metal box containing breathing apparatus that converts carbon monoxide into carbon dioxide) ‘better to use in doubt than die in error’. Only three breathes of deadly carbon monoxide and you are unconscious, possibly dead.

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On descent there is a series of air locked passages to pass through, ears popping before stepping out into the vast network of tunnels that extends over thousands of kilometres under the sea. With our headlamps dimmed here is total darkness.

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We walk 20 minutes to visit the original research laboratory now being ripped diagonally in half by the slow liquid like movement of the salt walls sliding against a fault line.

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The floor and ceiling are ruptured and so the highly sensitive equipment is being moved to a new purpose built reinforced steel clad lab.

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From the abandoned clutter of past experiments we cross another grimy passage to enter the pristine white cavernous space of the new laboratories.

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Still in the process of being equipped and put into full use we can only see a small part of what will go on here.

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Behind the blank face of the technology in large metal containers sprouting many wires and screens with data passing across in repeating wavering lines is the ongoing hope to witness a tiny scintillation of light that can be identified as the result of a collision of a dark matter particle in the target matter of pure Xenon.

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The three hours underground pass very quickly as we are in constant awe at what we see and hear about the extraordinary past and present projects that take place in this hidden arena. 1605 dmboulby detector

Prohibited from taking anything battery powered below we rely on borrowing a lab camera to take a few snaps before we have to return to the lift shaft to be hauled back to the surface this time tightly packed amongst the silent salt dusted mine workers.

We returned to the surface exhausted and full of information to assimilate. The next stage is to let this experience feed into and stimulate new work engaging with ideas of charting the unknown and extending our vocabulary and ability to interact with the matter of our universe that at present we can only surmise about through theory.

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I was delighted to be asked to show work in Aether curated by Lumen at Imperial College London. Aether is a curatorial project, focused on the philosophical aspects of astronomy and space exploration. The participating artists explore phenomena existing in outer space  considering how “invisible” objects are made tangible in the fields of both art and astrophysics.

These pieces from the everydaymatters series were inspired by the discovery that we can only see less than 5% of the matter in the universe.  Sparked by an interest in aura of place and dreams of paradise this has expanded into a fascination with how we encounter the physical and the spiritual world and the unseen activity of matter in the universe. The images, from real locations called Paradise such as Paradise Industrial Estate, Hemel Hempstead are dissected into the proportions of dark energy, dark matter and the visible world that current science believes constitutes our universe.

I have been pursuing further investigations into matter as part of  The Matter of Objects collaboration with Medieval and Renaissance research historians. This project interested me as it combined an investigation into the physical matter of objects and also more intangible things such as agency of object. I thought the Medieval period would also be interesting as a time when science and religion clashed as being the source of truth. I was paired with PhD researcher Bruno Martinho based at the European University Institute in Florence. His work explores the consumption of non-European objects on the Iberian Peninsula during the second half of the sixteenth century. Something I had never considered. The object he chose for me to respond to was a C16th Fall-fronted cabinet probably made in Gujarat for a Portuguese merchant. This work has taken me in unexpected and new directions.

At first I thought I may only experience this object as a digital image so was pleased to discover it was at the V&A and I could visit it and get a sense of scale and materiality. The most striking thing about the cabinet are the patterns. I could see the incredible detail, the minute pieces and precision in the workmanship.

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I think it is hard to connect to an object when you can’t touch it. It’s tantalizing not being able to open the drawers – they are tied shut just in case you are tempted to try.  At least it’s not behind glass so you can get up close and sniff it. I learnt from Bruno about its heritage from a mixture of cultural traditions seen combined in the patterns (European, Islamic, Indian) and materials (tropical woods, ivory). These cabinets were highly sought after at the time, they were the latest must have item to show wealth and status. An object of beauty, rarity and symbolism; commissioned, bought, sold and smuggled. They became part of 16th Century life but not always in a good way. A play “The Avaricious Cabinet” written at the height of the cabinets popularity criticized the hoarding practices it encouraged in merchants that were causing stagnation of the Portuguese economy. It could be written today about the unpopularity of the avaricious banker who dodges his taxes and is more concerned with his own wealth than the welfare of society at large.

The cabinet’s basic function was to store expensive objects, such as jewels or money, and important documents, like contracts or letters, and also all sorts of personal items such as lace and porcelain. There were antidotes against poison (like bezoar stones or unicorn horns), perfumes (made of musk extracted from Asian civet cats), coral (to make toothpaste), and also rosaries made of jet (that was believed to protect against melancholia). These appear as alchemical and mysterious objects today adding to the sense of mystique that surrounds the cabinet.  The warm tones, exotic aromas and smooth surfaces made using the cabinet an intimate and sensual experience.

The idea of using spices came from my conversation with Bruno about the aroma the cabinet would give off from the exotic woods it was made from and the smells it would absorb from its contents and surroundings. I thought of the mix of cultures that came together to produce this object, the markets of India and Spain and all those places in between. I made inks from ground spices and copperplate oils to fill the etching plates that would operate as markers of the route from Asia to Europe along the spice route.

I hoped that as the viewer leans in they will smell the spices and the colours would be natural and earthy like the materials used in the cabinet.

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I wanted to try and include something personal into the work about this particular cabinet but so much is a mystery. The V&A don’t hold a lot of information about its personal history. They sent me the purchase order and had a look to see if there were patterns inlaid inside the drawers – there are not. So the history of who this little cabinet belonged to and the items it stored seems lost. All that we know is it made the journey 500 years ago when navigating across the globe was reliant on reading the stars.

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containment –  60 x 60 cm,  screenprint on board, etched aluminium, spices

 

This one object that potentially holds so many other objects all with their own reasons for being, the trail is endless and diverse. After many weeks of conversation it was good to finally meet Bruno at the event at Queen Mary University and to see work produced by the other collaborators. Everyone felt it had been a worthwhile experience opening up new ways of thinking on both sides. The exhibition was then taken to the extraordinary setting of  Barts Pathology Museum where matter and objects have a very direct conversation.

1605 containment Barts Pathology Musuem

I went to the Materials Library for their Pigments, Paint, Print event.

1605 pigmentsThere were various minerals on hand that can be used to grind into pigments but we were only offered synthetic materials to make into ink and ready made inks to print with so wasn’t quite what I hope for but I did get to see aerogel.

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This was like looking at little pieces of sky or transluscent mini icebergs. Apparently NASA uses this – the lightest material on earth, to collect stardust in the tails of comets. It looks a bit like a very fine mesh yet is brittle and very fragile and also very expensive.

Helena Pritchard’s show Encounters at T.J. Boulting was a dialogue between materiality and light, the play of one off the other created in collaboration with Ilenia Bombardi.

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Mesh cloyed with plaster scattering light to create movement, light bouncing from projectors and splitting into spectrums.

Spencer Finch ‘The Opposite of Blindness’ at Lisson Gallery is also an investigation into light –  how it hits the back of our retina to burn images into our mind which hover beyond our ability to physically recreate them. What we see and what we imagine take place in the same arena.

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Spencer Finch Sunrise (Mars)

There are paintings made up of concentric dots that animate themselves as our restless eyes dance over their surface creating ever changing patterns

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Spencer Finch Sunflower (Bee’s View)

then as relief, soft grey fog to wade into. The paintings, like after burn on the retina, are pared back to leave just the essential essence that Finch wishes to convey.

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Spencer Finch Fog (Lake Wononscopomac)

Finch has taken light recordings from the Pathfinder unmanned mission to Mars and recreated the exact colour tone of a sunrise as would be experienced on the red planet.

Photographic images created from space agency data by Micheal Benson in Otherworlds: Visions of our solar system at The Natural History Museum  included one of the sun setting on Mars.

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Tracing space exploration from the first images in 1967 to the present day his aim is to create images as close as possible to what the human eye would see were we able to travel to the far reaches of the solar system.

1606 Francis Upritchard Orrery IV

Francis Upritchard Orrery IV

The speakers at Tate Talks New Materialisms: Reconfiguring the Object were considering how investigating materials can stimulate new ways of thinking. Francesco Manaconda gave an overview of his curatorial explorations into how materials can be presented in new ways by imagining viewing an exhibition from the perspective of an alien in Martian Museum of Terrestrial Art and Radical Nature which focused on our relationship with nature. Anne-Sophie Lehmann and Iris Van Der Tuin discussed the importance of material literacy and the exactitude required in differentiating between materials, matter, materiality and materialisms. It is important that if we are to understand the matter that surrounds us we must test the resistance of the materials we encounter.

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