Edges and Intervals
Saturday 10th and Sunday 11th October 2015, Apiary Studios
'Edges and Intervals' features the exhibition of paintings, screen-prints, installed video projections, a film programme and live performance, including works by: Angela Allen, Viking Eggeling, Noel Forster, Nicky Hamlyn, Jamie Jenkinson, Kurt Kren, Lia, Stephen Littman, Harriet McDougall, Simon Payne, Gareth Polmeer, Guy Sherwin, Mary Stark and Jeffrey Steele.
Film programme and performance start at 7:30 Saturday 10th October.
Exhibition open from 12-6 Saturday and Sunday.
The various works, which have never been seen together, explore a formal interest in pattern, colour and motion, and find points of convergence across different but related media. This unique combination of works aims to consider the particular poetics of the frame, where boundaries, edges and intervals are the key points of interplay between stasis and action, light and form.
Programmed by Simon Payne, Gareth Polmeer and Andrew Vallance.
List of works from clockwise:
Painted Screen (1970/2012, 6 mins loop, 8mm on video)
A live projection event, in which a film consisting of rhythmic frames of solid colour is projected onto a hand-made screen painted with blocks of plain colour. The combined effect is that the shapes in the screen appear to move, while colours jump and shift under the influence of the projected colours and their retinal afterimages.
Intermittent 1 600x800mm oil on canvas 2014
Intermittent 2 600x800mm oil on canvas 2015
Correspondence: blue and orange 422x422mm oil on canvas 2011
Correspondence: red and green 422x422mm oil on canvas 2011
Correspondence: yellow and purple 422x422mm oil on canvas 2011
Correspondence: black and white 422x422mm oil on canvas 2011
The Correspondence paintings were made in dialogue with Nicky Hamlyn’s film of the same title, though they are also are structured with reference to digital codes. The starting point for Intermittent 1 and 2 involved the translation of the scanning mode of video.
Two Circular Paintings (152cm and 120 cm diameter)
Noel Forster was a preeminent abstract painter of his generation, whose major mode involved sweeping arcs of colour masked and layered, often across circular canvases. ‘In 2006 Noel Forster and I took part in an exhibition entitled Transfer curated by David Ryan, and since then I have often thought of ways to engineer another opportunity to look at shared ideas.’ (SP)
Chirality studies No.3 (2007) (Screen print) (60x60cm)
Sei Grafiche No.4, Syntagma Sg V 8 (1964/2008) (Screen print) (60x60cm)
Sei Grafiche No 5, Syntagma Sg III 156 (2005/2008) (Screen print) (60x60cm)
Jeffrey Steele is particularly known for mathematical monochrome works and was associated with the Systems group of artists in Britain during the 1970s. ‘I am fairly convinced that I shall approve of any context in which you may want to present or re-present my work. The specific junction of printmaking vis-à-vis the concept of series is a top-priority theme’ (JS from a letter to SP).
Distance (2015, video projection, loop)
Momentary light in phased intervals of light and colour. Sequences of frames are composed into lines then spatially and temporally offset. The work is projected in different patterns, a series of variations and experiments in a circular form.
Screening - 7:30, 10th October, 2015
Diagonal Symphony Viking Eggeling (1924, 35mm/digital, b/w, silent, 7’)
A classic of avant-garde film: the line and its planar development in time as the basis of a new visual language. Several critics have seen Diagonal Symphony as the precursor of vector-based, time-based, digital aesthetics.
Bend Gate, Butterfly Garden and Shutter Jamie Jenkinson (2013/14, video, colour, 4’30”)
Three short videos selected from a catalogue of pieces that Jenkinson has shot using his mobile phone. The catalogue of works that he has produced in this vein render concrete objects fluid and disperse the pattern of the raster image in unexpected ways.
Field Strategy Harriet McDougall (2000, video, colour, 5’30”)
Field Strategy was made while on a residency at Wysing Arts, Cambridgeshire. The structure of the piece involves extracting and then duplicating a set number of frames from the timeline of an otherwise uninterrupted single take. After the initial interruption the sequence works its way back to the real-time recording.
11/65 Bild Helga Philipp Kurt Kren (1965, 16mm/digital, b/w, silent, 2’30”)
This film is modelled after a print of an Op-art painting by Helga Philipp. Kren shot single frames of the painting or details thereof without a plan. The black areas on the canvas occasionally seem to move, demonstrating an Op-art effect.
int.16/54//son01/30x1 LIA (2005, video, b/w + colour, 5’)
Lia is a stalwart of the ‘Austrian abstracts’. Here black and white rectilinear forms shift dynamically, flickering and interacting with the soundtrack in abstract patterns. Solid horizontal and vertical structures shift to blurs, then to circular and diagonal movements.
Point Line Plane Simon Payne (2010, video, b/w, 8’)
Shifting grids in black, white and shades of grey plot and continuously reframe screen space. The increasingly complex matrix of layers produces an illusion of depth, beyond the surface of the screen, but with positive and negative switching, the piece also illuminates the viewer.
Predator Cat / Selfish Diva Stephen Littman (1998, video, colour, 10’)
The cat as an iconic predator, and pigeons as implied prey, in a pure video multi-layered space, comprising complex mattes and time-frames. Littman’s full on exploration of electronic vision has its flip side in the crafty cat’s impending attack.
Correspondences Nicky Hamlyn (2011, 16mm, colour, silent, 16’)
Correspondences a film of the paintings by Angela Allen was shot frame-by-frame in order to generate superimpositions in the visual cortex through the alternate presentation of two different frames. The work also considers notions of translation between static and "moving" imagery, and the different kinds of perceptions these generate.
Weaving Film Mary Stark (2015, 16mm projector and leader, Performance, 20’)
Involving an unspooled 16mm film projector, film leader and the practice of weaving, this performance explores the craft of handling and editing film. The filmstrip becomes a shiny sculptural form shimmering as long as the projector purrs.