Archives for posts with tag: Gavin Hesketh

 

More excellent news is that I have been accepted as one of the Open Door Residency Artists for the BEYOND project run by Allenheads Contemporary Arts to take advantage of its new on-site astronomical observatory and to consider the word BEYOND as an open ended starting point for discussion.

The timing is perfect as I am about to begin my Chisenhale Studio4 Residency where I will have a large space to develop ideas from this experience that build on my current research looking at cosmic particles, the shape of the universe and the philosophies and mythologies that first attempted to understand the cosmos and relate its vastness to the human experience.

1802 frozen galaxyI spent a wonderful weekend with 12 artists enjoying perfect moon gazing weather in the dark skies of Northumberland, seeing galaxies in frozen puddles, plunging into the darkness of the forest or the inflatable planetarium and discussing ideas generated as we shared our own interests and observations.

 

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I am thinking about what stories might be told if our ancient eyes had reached beyond those points marked out on the first star charts. Maybe Atlas would have had more daughters. Hopefully with the help of the brilliant open source planetarium Stellarium that we were introduced to I can add another layer of narrative.

From my vantage point on earth, the moon slides quietly, the stars twinkle through the atmosphere, satellites pass serenely by, but I know that just 15km above my head is a very violent place of high energy collisions as protons slam into our atmosphere, break apart and rain down, on and through me.

1802 Cloud chamber lightningThe opening paragraphs of The Power by Naomi Alderman prickle with the power they describe

“The shape of power is always the same; it is the shape of a tree…branching and re-branching…the outline of a living thing …the shape of rivers leading to the ocean…the shape that lightning forms…the shape that electricity wants to take is that of a living thing .. this same shape grows within us …power travels in the same manner between people..”

A brilliant novel. Shifts perspective to reflect the world back at us to shine the light on some uncomfortable truths.

A fascinating book to help understand the activity of matter is The Particle Zoo: The Search for the Fundamental Nature of Reality by Gavin Hesketh. I got this book to learn about the characters of the 12 fundamental particles and the forces that they interact with. It presents an unseen world of spinning, colour changing oppositely charged partners, repelling, attracting, sticking together, passing messages or passing straight through each other; releasing and absorbing energy in constant activity. Out of this melee which appears, once you get to the smallest scale, to be made of nothing but points of energy all things are formed.

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I have been reading this in tandem with Stephen Fry’s reworking of the Greek Myths – Mythos. Just as improbable.

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Captivating performance storyteller Ben Haggarty brought to exquisite and gory life three retextured Greek Myths under the banner The Fate We Bring Ourselves – decisions have consequences at the Crick Crack Club event Myths Retold at the British Museum. He spoke afterwards about the intimate space of the darkened circle that forms around the storyteller where each audience member feels personally addressed.

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Mythological thinking looks at the whole – the micro and the macro and sees commonality.

The New Materialisms reading group that I have been a mostly absent member of is currently reading Donna Haraway Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene

 

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Donna Haraway: Story Telling for Earthly Survival

 

Fabrizio Terranova’s film, screened at the LCC, brought the text to life with her infectious mix of enthusiasm, joy and bewilderment at the world and her passion for new ways of thinking. The director spent a few weeks with her and her aging dog Cayenne in their Southern California home, exploring their personal universe as well as the longer development of her views on kinship and planetary welfare. Animated by green screen projections, archival materials and fabulation he has created an enchanting insight into the mind of Donna Haraway.

 

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Bjorn Hatleskog Perpetual Jellyfish in Liminality at Gallery 46

 

“The tentacular are not disembodied figures; they are cnidarians, spiders, fingery beings like humans and raccoons, squid, jellyfish, neural extravaganzas, fibrous entities, flagellated beings, myofibril braids, matted and felted microbial and fungal tangles, probing creepers, swelling roots, reaching and climbing tendrilled ones. The tentacular are also nets and networks, it critters, in and out of clouds. Tentacularity is about life lived along lines — and such a wealth of lines — not at points, not in spheres.” Donna Haraway

Also ‘Staying with the Trouble’ and hoping for a positive collective future are London duo patten at Tenderpixel asking ‘how do we make it to 3049?’

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I had the pleasure of hearing Mark Dion talk about his work, love of systematics and the usefulness of taxonomies as tools of communication at Whitechapel Gallery on the opening day of his show Theatre of the Natural World.  Like Donna Haraway, he is concerned with extinctions, environmental exploitation and catastrophic interaction with other species and expressed a pessimistic resignation that our future is unlikely to be a positive one unless there are some radical changes.

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Archaeology came with the Anthropocene.

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His recreation of a Wunderkammer is another step in the journey for a collection of objects that were removed from their original environment, placed on display in a cabinet of wonders, then captured as drawings that were turned into engravings and then published in print.

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Manually sculpting the objects using the limited information gleaned from the prints as a guide they are returned to 3D. Ghosts of the past losing clarity with each transformation.

1802 Mark Dion 4Looking at the aura of objects Secular Icons in an Age of Moral Uncertainty at Parafin questions the idea of art as a system of belief based around looking and valuing objects beyond their intrinsic materiality. Lower floor was closed when I visited so didn’t see everything. Though just contemplating the horrors associated with Indrė Šerpytytė’s giant lightbox totem constructed using the first blocks of colour that appear from the google search ‘Isis beheading’ was enough.

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Indrė Šerpytytė 2 Seconds of Colour

Hell on earth continues. Glenn Brown Come To Dust at Gagosian had some genuinely creepy offerings and an obsessive repetitiveness.

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I did find Let’s Make Love and Listen to Death from Above compelling despite its bleak vision. Hung at an angle to appear that the sky is indeed falling and it is not the heaven we wished for that is descending upon us.

 

1605 Mercator World Map 1569When paradise could not be mapped on the known land it was believed it must be on an island over the ocean. Dare to dream.

 

 

on my island none of this would be true  – a dynamic group show at the new Arebyte Gallery space on City Island curated by Chris Rawcliffe took its title from the last line of a poem called Security, written by Tom Chivers for his book Dark Islands (Test Centre, 2015).

1802 Tom Chivers Dark Islands

It was another chance to see Verity Birt’s Venus Anodyomene a spoken text and video work with Holly Graham and Richard Forbes-Hamilton.

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The rhythmic narrative evoking a slippy oozing layered earth world of geology, archaeology, lost time or excavated memories was enhanced by the boardwalk approach to the gallery in torrential rain alongside the exposed mudbed of the River Lea.

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Hannah Regal What Transpires in the Field of a Body That is the Base of Her

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Gery Georgieva Europa Airlines Stand

 

“Again and again
we’re
expelled
from a garden
that never
existed” Ludwig Steinherr from Before the Invention of Paradise

What goes on in nature under our radar beautifully captured in Sam Laughlin’s series A Certain Movement as part of the Jerwood Photoworks Awards. Intimate moments and hidden processes lifted from nature with a quiet sensitivity.

 

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Sam Laughlin from the series A Certain Movement

 

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Visited Mayra Ganzinotti in the chilled and vaulted splendour of Florence Trust Winter Open Studios. Her beautiful work mixes crystal forms in geology with the body; rhythm and structure.

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Mayra Martin Ganzinotti

Other exciting work and use of materials going on was from Amanda Baum and Rose Leahy

Unexpected juxtapositions offer new paths to tread.

A group of artists and writers, selected by Payne Shurvell, were each asked to respond to the same image either with a text or intervention directly over the image. 256 possible diptychs were created. New pairings are hung daily in random combinations pulled out of a hat. The Arca Project lets fate or coincidence decide the outcome the audience will experience depending on when they visit. The concept to present multiple readings of one event draws on the ethos of W. G. Sebald who revelled in mixing things up.

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I only had time for a brief visit to Liminality [The Unknown] at Gallery 46 which was a shame as I think I missed some good things. But I did see the delicate and fluid interpretations of sound technology diagrams by Mary Yacoob

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Mary Yacoob Draft Drawings

also her meticulous ‘Seraphim for Sanctus’ inspired by a choral score for ‘Sanctus’ and the prophet Isaiah’s visionary six-winged angels.

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Mary Yacoob ‘Seraphim for Sanctus’ detail

I have been contemplating the circling angels of the Empyrean that dazzled Dante when he reached the final sphere of heaven. It might be the first time I have really thought about an angel as an other being/species not just a good human with wings.

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Gustave Doré The Divine Comedy’s Empyrean

 

 

 

 

 

 

 

 

 

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New year fresh start. Laboratory of Dark Matters evaluation reports submitted. Now to build on my research from the last year. Time to put up the dark tent again and get the cloud chamber running to take some more controlled footage for use in an immersive installation. Excited to be experimenting with video projections, lenses and different media to project onto to ‘capture’ the particles.

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Sun Factor jostling for space at a busy Atom Gallery private view of Tomorrow’s World where most visions of the future appear dystopian or apocalyptic.

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The backstory to this work begins with a holiday to Sardinia and the day trip salesman’s  insistence the island bay he proposes taking us to – it’s paradise, it’s paradise … well how could we refuse. It turned out we were to be cast ashore for hours on a tiny strip of sand with no shade, no escape and a sea swarming with tiny stinging jellyfish. A concrete obelisk stood over the blistering bodies; once ancient sun worshippers built these capped with gold to shine like beacons celebrating the power of Ra the sun god. Modern sun worshippers have their own rituals, laying under a hot ball of gas so massive and so hot it has been active for 4.5 billion years yet it will be another 4.5 billion years before it will expand into a red giant, vaporize the earth and explode.

On a rather grander scale was ( my past RCA tutor) David Blandy’s The End of the World at Seventeen Gallery.

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Designed for solo viewing, a single seat faces the enormity of space. You become the lonely astronaut gazing down on a faraway world, at once familiar and distant. The voiceover poignantly recounts what is being lost; spanning perspectives, the micro and macrocosm of life, imagined, virtual and real. When the end is in sight senses are heightened.

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Touched to hear that David thought of me when making the High Definition series splicing microchips, crystals, nebulae and rock formations into stars which appear 3D until you approach more closely and then they flatten. Heptagrams (seven point stars)share Christian and pagan symbolism, they can represent the seven days of creation, the perfection of god and the seven planets which were known to ancient alchemists.

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The installation HD LIfestyle also plays with the illusion of surface and the material cost of being able to pass through the screen to an ever more real and immersive experience on the other side. The wares are on display. The images sweep us forward. It would be hard to stop.

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Thomas Ruff at Whitechapel Gallery. He is big on scale, control and appropriation.  I was struck by the regularity and precision of the white dot of light reflection in each of the portrait models eyes.1712 Thomas RuffThe Mars Reconnaissance Orbiter launched 2005 recorded topography, water related minerals and climate using an imaging spectrometer, context camera and mars colour imager transmitted as radio signals to be translated into images.

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Thomas Ruff ma.r.s. 

SPACE/London Creative Network Showcase – showing works in progress as part of an ongoing exploration of new technologies employed within art practice.

Catriona Leahy uses laser-cutting technology to etch delicate capillaries onto marble to articulate a sense of fragmentation and the scarring of  manmade intervention in the form of land drainage found in Dutch and Belgian post industrial landscapes.

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Catriona Leahy Percolation Test

Always drawn to the perpendicular – the standing stones. I enjoyed Ben Branagan’s legacy of the built environment captured in totems made from building site aggregates.

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Ben Branagan Hardcore Colonnade

Next door was the satisfyingly ritual space of BearMotherhouse a collaboration of Fourthland, an artist collective, with Xenia a group that brings geographically displaced women together with local communities for friendship and integration through creativity. A quote from the accompanying essay by Alberto Duman addressing the cosmological connections and mythologies of the objects that ‘ speak of the degrees of interconnectedness beyond human knowing and the evocation of powerful figures such as the Bear and the Mother that oversee and mesmerise this house’s proceedings

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Cryptic exhibition at The Crypt Gallery, St Pancras Church examines the relationship between art, science and technology. Lisa Pettibone explores matter and form through the manipulation of one template and the forces applied to alter its appearance.

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Lisa Pettibone Apeiron 01_02_03

Pentagon envy.

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Bekk Wells Elements

Imagining CERN event at CSM presented the results of creative collisions between interdisciplinary art and particle physics.  MA Art and Science students got to visit CERN, collaborate with scientists and make work in response.

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Gavin Hesketh was here to talk about his work at CERN searching for new particles

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He had brought his cloud chamber along. First time I had seen someone else’s cloud chamber other than online. No dark tent here.

1712 CSM imagining CERN cloud chamber

In particle physics the closer you look the more similar things become,

when you get right down to the elementary particles there is no colour at this scale