This exhibition was constructed backwards in the sense that the beautiful materiality of the artwork already existed as a non-art object, made by someone as an action of cleaning up waste material in an economical fashion.
By moving this material to the gallery context and then following the formal methodology of an art form like Ikebana, the work crystallises towards an increasingly mysterious outcome.
Friedrich’s art practice often uses informal research techniques (wikipedia/google) to develop counterfeit methodologies of creation.
MAGGIE THORSSELL - FEMI COPPI - DEIDRE HOBAN
REGINA MIDDLETON - JILL HERMANS
Taking its name from the ancient latin word for jewellery, Jocale explores the process of play as a means of creation, as well as the the playful nature of jewellery itself.
Jocale has been traced back to the meaning ‘plaything’; taking this idea for inspiration, jewellery is used as a platform for five artists to express their ideas and to play with materials, concepts and the audience, by incorporating an element of fun; something moving, something hidden, or something colourful. Intuition and composition play major roles in the creative process when play is involved, enabling one to live in the moment and for ideas to flow naturally.
FOREVER'S GOING TO START TONIGHT
Forever’s Going to Start Tonight is a show about potentiality.
In certain circles the trajectory of human evolution continues to be a source of abjection.
Revelations in recent science seem at once to determine us with an incessant mapping and to open up a malleable future shimmering with possibility.
Is there a way to catalyse our collective potential without recourse to the transcendent?
Like wilful cargo cultists might we develop ad hoc new stories and practices that serve altogether more earthly ends?
Postcard looks at the subject of perception and memory and the fundamental problems associated with depicting reality.
The image of a postcard is a quintessential image that allows the viewer to construct worlds beyond its flat surface. It is this flat surface that I have taken to exploring my perceptions and memories opening up into the themes of warmth, security, vulnerability and fear.
Flat images so often beg us to construct other worlds beyond their surfaces. I began enquiring into this when I found myself wandering obligatory images of the East coast of Britain, where I grew up and felt the best way to explore this was to crack open the bare bones of these images. I took the flat surface of the image and confronted my memories and perceptions.
THE LIKES OF YOU
The post can be defined as a regulated institution that ensures, in conditions established in advance, the transmission of the thought of the sender as he or she has transcribed it on a material support.
Becoming an open letter or postcard (as Derrida would say), the exhibition raises temporal and historical questions by interpreting and refiguring Brancusi’s The Gate of the Kiss in the here and now. That is, by shifting the work’s terms and meanings, this act of cultural translation looks at establishing the cultural context of the correspondence: to how places of separation enter into the field of representation, and by means of a literal illustration of Brancusi’s sculpture, to how history and historiography are spatialised in producing figures of difference and identity as a measure of public meaning and social fact.