No-one Lives in the Real World
Curated by Rosalind Davis and Annabel Tilley
: Sasha Bowles, Rosalind Davis, Evy Jokhova, David Kefford, Michaela Nettell, Timothy Shepard, Srinivas Surti, Annabel Tilley and Rachel Wilberforce
: 19 February, 6-8.30pm
20 February - 21 March 2015, Wednesday-Saturday 12-6pm
First Thursdays late night opening
: Thursday 5 March, 6-9pm
Standpoint Gallery, Coronet Street, London, N1 6HD
PHOTOS © Charlotte Wilberforce
'No-one (Freud announced) lives in the real world. We occupy a space of our own creation - a collage compounded of bits and pieces of actuality arranged into a design determined by our internal perceptions, our hopes, our fears, our anticipations.'
- W. Galin
No-one Lives in the Real World is an exhibition about incongruous spaces, absurd structures and fragile worlds featuring artists who share an affinity for the use of collage in their work - both the literal cutting out and sticking down or the re-assembling of elements from different times and contexts including art history, architecture, literature, nature and technology. Through the mediums of sculpture, drawing, painting, print, photography, video and installation we encounter conversations about imperfection, fragility and otherness.
Working with art history Sasha Bowles
is showing work from her ongoing series: 'Taking Liberties with the Masters' where through playful interaction with existing bookplates and postcards the miniature works are both interventions but also pay homage to the grand tradition of the Old Master painting. Bowles says: "I am building an intimate relationship with these works - now mischievously re-contextualised - which brings the viewer up close to consider them both as living paintings and objects and thereby continuing the ongoing conversation between artists throughout art history."
's site-specific installation: Sketch for a Failure of Budgets is simultaneously a response to a chance conversation on space and an investigation into the sacred geometry of architecture. Comparing and contrasting the legacy of Vitruvian principles and architecture created out of need, the installation references both grandeur and futility, mathematical purity and megalomania, dreams and possibilities and the politics and aesthetics of stone in architecture and city planning.
liberates and subverts found images from the everyday environment and transforms these into new collaged scenarios that suggest elusive, emotional and psychological narratives. Kefford's collaged drawings harbor and conceal a both vulnerable and malevolent presence; a quiet violence waiting to spring free. His work is often temporal, un-monumental and made in connection to and with his body.
's glass maquette, A Crystal Geometry, and accompanying paper collages are inspired by Cedric Price's visionary design for the Snowdon Aviary at London Zoo. The works deconstruct and reconfigure the aviary's tetrahedral structure, imagining (im)possible variations on its form.
uses the formalism of display as a method for disrupting the accelerated redundancy of images in the desire for visual consumption. Utilizing tropes of modular construction, the idea of the poetic image is presented as an abstraction located between image, object and architectural form. Rather than nostalgia for the picturesque, the viewer is invited to consider Svetlana Boym's idea of Ruinophilia as a material and visceral experience of the irreversibility of time where resemblances seem to be indiscernible. Materials that have a modest sense of familiarity are machined, fabricated by hand and re-assembled into structures that invite closer contemplation or scrutiny.
' paradoxical paintings imagine a complex set of possibilities for visualizing both physical and psychological spaces. Beginning with the rationalised objective geometries of architecture Davis transposes several spaces into one image, creating disorienting, irrational, and subjective structures. Highlighting the disparity between the imagined and real the work re-claims the failed ideals of modernist space by creating an intimate and personalised space of one's own making. Interior and exterior space are both suggested and physicalised through a process of emergent materialisation which simultaneously navigates relationships between the personal and the systematic /architectural which is literally pinned down, sewn up and threaded together. Threads dissect boundaries into shattered geometric planes and shards employed with an uncharacteristically hard edged aesthetic sensibility that punctures the overtly male domain of architecture with a feminised gesture.
For Timothy Shepard
his photo-collages of landscapes have roots in the miniaturist tradition of vernacular artists like Joseph Cornell who take the minutiae of life and transform it into a kind of map of a personal headspace. Shephard's landscapes derive from experiencing a particular landscape or place coupled with the overlaying of perceptions, memory and impressions in the mind. Shephard says: "I am trying in the first instance to subvert the standard expectation of the landscape while still fulfilling it." Hundreds of image fragments are reassembled layer upon layer to form the final picture, with an interconnectedness that expresses both the actual and imagined from a plural view. To truly fathom a landscape one must see it from several viewpoints. This is how the mind perceives the landscape - both over time, and then in the subsequent creative memory.
works with art history and literature to create drawings, collages and paintings that depict bizarre and complex worlds. Symbols, patterns and natural history motifs merge into one another to form unusual rooms or peculiar, fantastical gardens. Tilley works from museum guides and art history manuals of English country houses, their collections and formal gardens. Using visual quotes to create unusual taxonomies - the drawing of a plant, hat, head, wig, nose, arm, leg, half-torso, tree or branch - from Old Masters like: Nicholas Hilliard, Blake, Stubbs, Zoffany and Gainsborough. Thus the ubiquitous museum-guide and art-history manual become the transformative objects d'art themselves and form a new, playful and contemporary look at the history of English painting.
's practice explores contemporary subjectivity through the relationship between everyday and other spaces, specifically drawing on Foucault's notion of heterotopia. She is drawn to places with uncertain borders, sites on the edge, fleeting, cut off and precarious, hovering between different histories, uses and meanings. Through photography, collage and installation, the work aims to prompt questions about our relationship with space and the potential for our mind to dissociate space or reveal the transcendental. Wilberforce's 'Perceptual [Apparatus]' explores the ideological and physical spaces of archetypes: the prison, the factory and the hospital. In responding to the three spaces’ shifting and juxtaposed identities and purposes, the work considers their historical and contemporary status, and how this manifests on the physicality of the site and in the experience of space. The contextualisation of our perception of space, and ways of seeing, is further heightened by the physical work itself, where double-floated prints will literally shift space and content, depending on one's vantage point.
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