Wednesday, September 26, 2012

Verlan @ 12around1 Gallery.

'Verlan'

12 around 1 Gallery. 14th - 22nd January 2012

Exhibited artists -

Majed Aslam, Joel Beach, Jeremy Brann, Edward Cotterill, Sam Griffin, Gabor Gyory, Fay Nicolson, Dear Mr. Quistgaard, Clunie Reid, Oliver Smith, David Treloar & Simon Willems.


Verlan is a form of slang used in urban France, in which the first and last syllables of a word are inverted. The word Verlan is composed by inverting the syllables in ‘l’envers’, which is itself the French word for inverse. As a word, Verlan very tightly contains its function within its form.

For many of the artists in this exhibition, their work is based on a reordering of the everyday and the familiar. Central to this is a process of revisiting, though not looking, in a conventional empirical sense, but of the already familiar. The works draw on a familiarity, which exists in two respects, that of the everyday, of commercial and digital imagery and in terms of art, of historical motifs. As withVerlan, the works mediate a duality between the artwork and work’s referencing of the everyday as it exists in the material’s common usage, outside of the gallery.

Through the separation of form from its context each work establishes its own discrepancy between itself as art, and the context from which it is derived. Equally the art works duality, and subtle discrepancy announces the function of the gallery, as a space where the re-framing of common information is possible.


“More quickly than Moscow, one gets to know Berlin through Moscow”
Walter Benjamin




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Within the gallery, the language of commercial imagery becomes re-contextualised. It exposes the differing, underlying motivations which exist in the different applications of an image. In being removed from their audience they are deprived of their function as well as their coercive powers. The replication of language, in a way as for its form to remain, but for it to be stripped of its intention, shows the discrepancy between art and commercial imagery. Equally, as is found in slang, a number of the artists are concerned with the framing of information. The effect, through addressing the form of content, is to find a parity between the intention of language, which in the case of many of the artists forms the basis for social critique, through the social regulation of language, and the material of that language.
6 Flavours. David Treloar, Concrete 2012



Geometrickish @ CelloFactory. Press release written by Ben Pritchard

Some thoughts about the abstract.

People are always trying to place things, when we say ‘abstract’ everyone thinks they know what it means, what sort of work they will see, but we don’t because the word implies an individualized re thinking of the world.

It is helpful to think of abstract as an area rather than a style. ‘The abstract’ is like saying Africa or America, a place with its own multiples, histories and attitudes. The name connotes something we feel but the reality of each experience is unique.

Abstract is like a species.


To work from the world towards an image is abstraction, to work through a language back towards the world involves the abstract. It is a loop of thinking, one leads to the other and back again.

Imagine a scale of thinking with full on literalism at one end and abstract at the other. These poles are bound by a subjective logical thinking they are surrounded by the dark matter of illogical thought. A turtle in the sea. The literalist relies on belief and power and history. The abstract is explorative skeptical a bit more humorous and flexible and polyglot.

The resistance is in fluidity rather than solidity.

The attitude of the artist is crucial.

The abstract is not an argument with the world but a rethinking. Trying to rework events in the direction of more creativity, more fluidity. It is inherently a subjective thing of the self and the world and the re-thinking in between the thing is coloured by both, but it is new.

The abstract looks at the world as many things rather than as one and it is the friction between the world and the remaking that gives it its currency.

The abstract thinking artist works towards making things that are more than what they are by virtue of being what they are.

Social Space @ Fort Gallery

SOCIAL SPACE

Robert Rush David Cyrus Smith David Treloar David Ben White

Curated by Emma Jamieson

11/11/11 - 23/12/11


“Social space is not a thing among other things, nor a product among other products: rather, it subsumes things produced and encompasses their interrelationships in their coexistence and simultaneity—their (relative) order and/or (relative) disorder”

Here within the ‘social space’ of the gallery, staircase and roof terrace, we give the room to four artists whose works run along a similar thread, in that they each deal with and draw from architecture, space, line and colour. The works are a product of playing and conversing with one another. The idea is that they have the gallery space as the seed to produce work from, and through their similarities and differences they here produce a scene, an outcome of their interaction with such social space unique to the FORT gallery.

“Every social space is the outcome of a process with any aspects and many contributing currents, signifying and non-signifying, perceived and directly experienced, practical and theoretical. In short, every social space has a history, one invariably grounded in nature, in natural conditions that are at once primordial and unique in the sense that they are always and everywhere endowed with specific characteristics (site, climate, etc)”


Exhibition curated by Emma Jamieson, Director, Marksman Gallery



Robert Rush (b Guildford, 1978) graduated from the Royal Academy Schools, London in 2006. Since then he has been included in Bloomburg New Contemporaries, The Jerwood Contemporary Painters and The John Moores Contemporary Painting Prize, along with a number of other self-initiated group shows and collaborations. He currently lives and works in London.

David Smith (b.1972) graduated from The Royal Academy Schools in 1999. Recent solos exhibitions include S.T.O.R.A.G.E- The Agency Gallery, London. and Diamonds on my windscreen- Keith Talent Gallery, London. He recently completed the Abbey Fellowship in painting at The British School at Rome. http://davidcyrussmith.blogspot.com/

David Treloar (b. London 1976) graduated from the Royal Academy Schools in London in 2006. Recent exhibitions include Fold, pop up show, London and Jafre, pop up show, London. http://davidtreloar.blogspot.com//

David Ben White (b London in1965) graduated from his MA in Fine Art from Chelsea College of Art & Design, University of the Arts London in September 2011. He is currently showing in Bloomberg New Contemporaries. Recent solo shows include Painting Pavilion, (And/Or Gallery), London and The Atom Age Parts 1 & 2, Studio 1.1, London. http://www.davidbenwhite.com/

Early examples of furniture commissions

Cabinet.
MDF, back painted glass, Purpleheart,
Sapele, painted eggshell finish.
Desk
Pine and MDF, Eggshell, Aluminium, Rubber
Gratuitous corner detail

Selection of my paintings 2010 - 2012

Untitled. 50 x 40cm Oil on Linen 

Untitled.  50 x 40cm Oil on Canvas

Their Architecture.  40 x 50cm Acrylic on Canvas

Their Art.  50 x 40cm Acrylic on Canvas, Purpleheart

Their Lives. 50 x 40cm Acrylicon Canvas

Entropy. 45 x 45 cm Oil on Linen, Metronome, Rubber, Ply, Brass.

Entropy. Detail

Sons and Lovers @ 52 Meters

Big Bounce

Royal Academy Final Show 2006

Images from my Royal Academy Final Show 2006.



Colour me gone.
Iroko, marine ply, glass, Lambretta King & Queen seat, neon
Pillion Rule.Padouk, ply, steel, leather, upholstery, fibreglass and two tone paint.

Lady Luck   MDF, Padauk, wood screw, skin ply upholstery


Hot Box. (Cold)  MDF, Heat reactive Eclipse paint