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Untitled 1: Glitch
11 October - 10 November 2013

Jules Clarke
Marcus Cope
Marie D'Elbee
Howard Dyke
Michele Fletcher
Andrew Graves
Matthew Krishanu
Gunner la Cour
Cathy Lomax
Matthew Macaulay
Sarah Macdonald
Stephanie Moran
Mali Morris
Clare Price
Robin Seir
Mia Taylor
Ross Walker

riffing on ripped images and ripped histories of painting; aberrances from the original, copies of copies reimagined - felt and manifested materially; image made fleshy paint, melted down and made new. These paintings are 'poor images', freeze-framed works of postproduction: cut up, cut out, reduced, autonomised. Close up, step back, an accelerated moment is frozen: subjective informants participate in the world of images, which are isolated in order to be examined or taken apart again by the eye of the observer.

Prevalent here is a process of removing and stripping down – in Morris’ work literally cutting into translucent layers of paint; Walker and Taylor work their subject matter reductively into distilled forms, whereas Cope, Dyke and Graves select and partially obliterate with paint - erasure as addition. In D'Elbee, Fletcher and Morris the images and forms are performed through colour and luminosity, however MacDonald, Price and Taylor present these only through screens of darkness. Seir thinks through futures via modernist painting, and Macaulay models pattern and gesture formally and affectively. Lomax and Clarke rework film stills and Krishanu utilises the snapshot as ghost-like afterimages. Moran’s work captures movement images through painted gesture, while Fletcher and la Cour express subjects through an absence of brush marks.

These works are becoming oblique; they are evocative, amping up or distilling affect viscerally, gesturally. They ask, how does it feel? Familiar scenes are rendered differently through architectures of paint. The artists reenvisage what is there, presenting concurrent histories-futures like Bergsonian time. There is a glitchy, slippery relation to the point of origin – although how to pinpoint an origin? – channeled via various machines of abstraction, colour, material. 

Stephanie Moran 2013