Archives for posts with tag: Hayward Gallery

2009 paradise suspended

Paradise (suspended) 

Latin suspendere, from sub- ‘from below’ + pendere ‘hang’ –

the prefix, sub- is often simplified to su- before sp; as seen in suspect, suspend, suspicion, suspension –

attachment from above/ imposed but not enforced/ dispersed through the bulk

A meshing of images and geometries which serve as a motif for the universe, fragmented and suspended echoing a time when dreams have been put on hold and the routines of daily life broken and held in limbo.

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Work in progress looking at the possibility of a home from home orbiting the star HD70642 in the constellation of Puppis located about 92 light years away.  Link here to see HD70642 using the online planetarium Stellarium.

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This star has a long period planet companion making a circular orbit which means it is one of the most similar currently known planetary systems to our Solar System. There could be an Earth like planet orbiting this star. It would have taken my Mother’s whole life to reach here and the very first radio signals are only just arriving.

Puppis is one of the three constellations that once formed the huge constellation Argo Navis. In Greek mythology, the Argo carried Jason and his 50 Argonauts to Colchis at the eastern end of the Black Sea, to recover the Golden Fleece helped by Athena and Orpheus.

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Imagine a world 92 light years away looking back at us. What patterns do the stars make? What stories are told here? Could those radio signals reaching them now be picked out from the noise of the universe?

I have made some progress with Seeker, Seer, Scientist an investigation at the boundary of my horizon. What lies beyond.

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Marking out a 3 mile radius on my customized ordnance survey map to determine each destination at the four points of my compass.  I embarked upon my first journey at dawn.

My GoPro headstrap had not arrived and so I had to improvise.

I was surprised by huge flocks of raucous parakeets rising from their overnight roost.

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Destination North took me to Richmond Park. Wild deer and the terrifying roar of the nearby stag made a magical encounter.

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2009 TEST membraneSome test filming of soap membranes for use in the film as a crossover point between the visual and the imagined reality.

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Wonderful to hear that my video sculpture At a distance has been selected for Programme 2 of Visions in the Nunnery 2020 at Bow Arts

2009 At a distance

Nye Thompson’s Programme 2 explores our world through the many new digital systems that have fundamentally changed how we see and exist. Data is harvested, other worlds are imagined and the cataclysmic effect of technology is explored. I’m very excited to see her new work which virtually builds a colossal dividing wall on the un-walked territories of Mars.

In At a distance solitary figures using semaphore flags sign ‘We are one’ out across the ocean. Filmed at Lizard Point Cornwall on 29th March 2019 (the first date the UK was supposed to leave the EU). As in entanglement theory where two paired electrons mirror each other at a distance it is hoped the message will be echoed back.

Every outing is precious now. Visited Unit 1 Gallery/workshop Radical Residency V exhibition particularly to see the enigmatic sculpted forms of Marianne Walker’s 3D drawings connecting conversations across the ages echoing object and mark making. Impressive collection of works including Emily Woolley’s alchemical sculpture articulating swirling ocean currents through the use of mica.

First post lock-down gallery visit was to see Among The Trees at the Hayward Gallery.

‘In meditative works across different media, 37 artists explore how trees challenge how we think about time, and consider how intimately entangled they are with human affairs. They invite us to appreciate their soaring scale, in art works such as a monumental sculpture cast from a 2,000-year-old olive tree by Ugo Rondinone, a cinematic portrait of a 30-metre-high spruce tree by Eija-Liisa Ahtila, and a vast forest of trees constructed entirely from cardboard by Eva Jospin. Among the Trees transports us around the world – from Colombian rainforests and remote Japanese islands to olive orchards in Israel and a 9,550-year-old spruce in Sweden.

There was lots to feel in awe of as trees are such magnificent beings. During lockdown trees became a vital presence for everyone confined to their immediate neighbourhood. The daily walk gave us time to notice spring unfurl and appreciate local nature.

I followed the fortunes of stumpy from a brutal curtailment of growth happened upon during my first covid walk, to the fight back to regain some of what was before. Just as we are bristling and sending out tentative new growth as we emerge from lockdown.

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Rachel Sussman’s photograph Underground Forest #0707-1333 (13,000 years old; Pretoria, South Africa) Deceased 2007 was particularly intriguing.

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This is the crown of a tree that has migrated underground possibly to survive the areas regular wildfires.  These underground trees are found in the savannahs of southern Africa and South America and are different to the root systems of other trees. The shoots on the surface could be part of a network with large woody structures as much as one metre wide with stems measuring up to 10 metres across. If there is a fire the shoots above ground can quickly regrow. These underground forests are extensive and diverse and seem to be linked with the spread of the savannah around 8 million years ago that led to an increase in wildfires.

It is also what is known as a clonal tree which reproduces vegetatively underground. There are also clonal colonies where a forest of trees are all genetically identical linked by one network of roots that send up suckers. The world’s largest living organism (and maybe the oldest) is a clonal forest known as Pando or the Trembling Giant. This striking colony of quaking aspen covers 106 acres of Fishlake National Forest in Utah.

2008 Pando

The other thing everyone mentioned during lockdown was how birdsong was louder and more pervasive to our days as traffic and flights ceased to muddy our soundscape.

The lockdown zoom Ways of Listening from Complicité was a joy to listen to. I didn’t realise how starved I felt of these sort of conversations. Hopefully the link below will remain active for the future. Unlike our eyes, our ears are never closed.

Ways of Listening | Complicité

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I also watched the film Infinite Potential: The Life and Ideas of David Bohm which gives a biographical account of his life and search for something beyond or at the intersection of science.

2008 David Bohm

Bohm was interested in consciousness because of its implications with regard to quantum theory.  He looks at the interconnectedness of all matter. How we interact with the earth, how we interact with each other. If we want to go beyond our current state of consciousness and experience wholeness we must look beyond the manifest veil of form to a realisation of oneness.

I have been gathering tips and components to build a cloud chamber for viewing cosmic particles but mostly my time has been spent in funding application form filling.

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Feeling the admin has been taking over. Not a creative time and am also finding the ground is not so firm beneath our feet when it comes to securing the promise of a grant.

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Challenges ahead but Laboratory of Dark Matters is taking shape and we are listed on Guest Projects website link here.

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I have moved studio once again, only a very short distance but into my own space. This is so I can film the cosmic particles I hope to see in the cloud chamber in low lighting and mess about with dry ice. I am starting to plan work using imagery of the cosmic trails. Looking at pentagon facets of the dodecahedron.

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Made a trip to Allenheads Contemporary Arts for the final weekend of events of their major project As Above So Below that saw artists come together to explore a shared curiosity and quest to answer questions about our existence and relationship to our planet. Iron River was a beautiful live sound performance synched to a video installation from Bennett Hog and Sabine Vogel using an exposed piano frame, pebbles and bass flute to describe the extraction process of iron ore abundant in the local water.

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Eerie sounds, almost words, deep and earthy boomed from the woods and echoed around the valley in Neal Willis’ coded interpretation of barbed wire patterns What Language of the Fox? I thought Bill Aitchison’s Stuck In The Middle With You was brilliant. The recording of his performance was positioned in the spot where the original delivery took place during the summer – the view on the screen and out through the window was the same, just browner outside now.

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Listening to Bill make connections, set up a scenario only to knock it down became mesmerizing and addictive, I was swept away.  Listen to this work at the link above.

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Lucien Anderson’s Prototype 2, or Splashdown floats in enigmatic isolation on the Allenheads reservoir.

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There is video relay to an observatory tent but it looks like contact may be lost…

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Thresholds (Proximity, Distance and Loss) a poignant video installation from Jo Hodges and Robbie Coleman was running in the coal shed featuring sound from Lost Cosmonaut a recording from 1962 purporting to be broadcast from a damaged, State abandoned, Russian spacecraft overlaid onto imagery from a remote and subsequently abandoned Northumbrian village.

Pat Naldi’s research unearthed song lyrics written in criticism of the local mine owner during the early 19thC which the local Dale Singers performed on the green for Assembly 2016

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Alan Smith From NVC 100 to 10 Thoughts both reduces and expands inquiry as he condenses big questions into a series of 10 thoughts. Set in the cosy cosmos of his caravan it is a personal exploration of the very wide world we are invited to share in.

Bridget Kennedy installed The Measure Of It over the opening to Gin Hill Mine Shaft referencing the opening of seams for mining in medieval times when a prescribed square measure was termed an Ancient Meer and an oath was taken to claim ownership.

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“I swear by God and all the saints, and I call them all to witness, this is my vein; moreover if it’s not mine, I neither this my head or these my hands henceforth perform their functions” from De Re Metallica by Georgius Agricola.

Also made a visit to Yorkshire Sculpture Park

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The current headline show was from Not Vital – big shiny heavyweight sculpture, inside & outside. A lot of metal.

Was a nice surprise to discover Roger Hiorns Seizure has found a home here. Just as dazzling inside but a shame its place of genesis, the totally incongruous London estate setting is lost.

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Excited to experience James Turrell’s Deer Shelter Skyspace.

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The elements have left their mark on the floor.

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Incredible how the light changes the space, and framing the sky in this way makes it so luminous and almost tangible at the same time.

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When gazing up through the aperture of a ‘Skyspace’  it’s important to give your eyes time to adjust to gain the full reward. The contemplative state, like fire watching, that Turrell induces in his audience is common to all people through all time. He is fascinated by early cultures in which the position of the sun, moon and stars are responded to through environment. He appreciates light has a strong connection to our spiritual beliefs. Light is the materialization of energy. We are naturally eaters of light, our whole body is scattered with stray rods and cones outside of the retinal area which makes our relationship to light very primal. Our bodies are made from matter fed by the fruits of photosynthesis. Light is life. In using the stuff of nature as medium a direct connection is made between our body and the universe.

Caspar Sawyer’s exhibition Gamut at Thames-side Studios Gallery was another way of considering how our brains decipher the light messages that are fed to them, this show was about the pixilation of our world.

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Most striking are the giant heads of the 3 Kims triptych, leering in and out of focus as the angle and distance of perspective varies as you move around the gallery. The camera however, reverts the image back to tiny pixels and into focus. They are really not that clear to the naked eye when you are in the gallery.

The media construction of the larger than life characters made evident in oversized pixels.

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The sublime dissolving into sub-pixel RGB grids as we move too close.

Vibrant colour blocks as pixelated studies of constructed titles – internet searches for an image that best represents one word,

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reduced to pixels and blended with other word searches until the image represents the title – the source images never known even to the artist.

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And my favourite – This Moment is the Most Profound Experience You Will Ever Have in Your Whole Life (in progress)

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The image is revealed as a moving reflection of your body as you traverse the space, a shadow that casts light. Quite profound really. I am light.

Total takeover -Alex Hartley’s ‘architectural intervention’ A Gentle Collapsing II at Victoria Miro is wonderfully indulgent romanticism

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Stepping though the gallery doors to the garden becomes stepping though a portal to another time and place.

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The edges of reality blur as it isn’t clear where fantasy begins and ends. It is a place to enact and dream and enjoy its unreal realness.

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Other works inside are just as bewitching; paintings like translucent marble slabs  with hidden inner lives.

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Frosty surfaces shielding mysterious landscapes. Concrete pretending to be wood.

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I am always impressed by Alex Hartley.

Holly Graham showing After Harry Jacobs: The Studio and hypnotic looped animation After Harry Jacobs: Basket in Backdrop at ASC Studios as part of Artlicks weekend. ‘the works in the exhibition engage the backdrop as a context for action and seek to question the perception of its neutral or auxiliary role.’

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Scarlett Mueller creates her stunning hand printed woodcuts through layering techniques. At Anise Gallery for I Saw it Whole her work had been deconstructed and reimagined in a VR experience allowing the viewer to digitally enter the image. It was fun but unnecessary, her work has space for the viewer to enter without digital enhancement.

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There is something extra green about the green that is exposed on the river banks at low tide.  These glistening and gelatinous edges are captured by Anne Krinsky  in Tide Line Thames along with distressed defences like scabs barely holding together the banks of the old river. (old not ancient).

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Mysterious architecture, cogs, slippery steps, lengths and measures map out a life that dissects London, is passed over again and again without thinking. This exhibition is a pause in that momentum to look at the environment in the raw.

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Adding layers. Infinite Mix an off-site iteration from the Hayward Gallery. Sound and moving image. Some very raw and powerful images drilled into the mind with earworm rhythms and stanzas. Excellent stuff.

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Cyprien Gaillard Nightlife