Schwartz Gallery

Michael Shaw – Chameleons & Shape Shifters, 15.09.10 – 10.10.10

admin — Mon, 02 Aug 2010 15:20:58 +0000

Private View: Wednesday 15th September, 6 – 10 p.m

INF13, Installation view, Michael Shaw, 18.8 x 8.4 x 3.2m, Schwartz Gallery, 2010

Exhibition Dates: 15th September – 10th October 2010

Opening times: Friday – Sunday 12 – 6 p.m

First Thursdays late opening: 7th October 6 – 9 p.m

Artist-in-conversation: 2pm, Saturday 25th September

Public Workshops: Sat 18th & Sun 19th September 10 a.m -12

Things are not what they seem at the Schwartz Gallery for Michael Shaw’s solo show; luminous forms change colour and a sinuous inflatable breathes the gallery’s architecture. These ambiguous inter-linkings between objects and the architecture of the gallery operate in two distinct ways; they create a formal tension and cycle of metamorphosis within works that are rooted in minimalism and also a sense of psychological tipping-points that oscillate between the ideal and uncompromisingly geometrical and the deflated. This infuses the works with an ‘otherness’ that locates them in the contemporary. Shaw’s sculptures all exploit temporal changes in geometry or colour to create the illusion that each sculpture is something beyond its apparent material confines.

Shaw’s investigation into singular forms and geometry is augmented by the inflatable nature of the main ‘breathing’ sculpture which twists around the cast iron columns in the gallery, dominating the architectural space. The sinuous pneumatic nature of this piece, together with its fluorescent pink hue and the reflected light works on its surface, give it a creature-like and intestinal presence that disrupts any perceived ‘traditionalist’ aesthetic and infuses the gallery space with a subversive influence. The viewer is confronted with two vastly different, yet co-dependent propositions that push and pull their perceptual and cognitive reading; inverting viewer-object relationships and questioning the role of the gallery space in the process.

Complementing the inflatable are several light-works that cyclically change the intensity and tone of their colour, affecting the shadows and reflected colours they cast on the surrounding architecture and works. Their chameleonic light-changing quality is juxtaposed with the giant inflatable curving its way down the central axis of the gallery; once again a surreal sea-sawing sense of meaning is achieved. The light-works emit a formal eloquence and elegant awareness of materials. They also act out their chameleonic presence as a dynamic accompaniment to the deflated carcass of the pink shell or skin covering the gallery floor. Notions and traces of the body are constructed and re-constructed along with the architecture of the gallery space.

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Michael Shaw completed a PhD in sculpture at the University of Gloucestershire in 2005.

His solo show Virtually Sculpture toured the Study Gallery, Poole & South Hill Arts Centre, Bracknell in 2008-09. Venues of recent group shows include: Los Angeles Center for Digital Art, Museum of Fine Arts, Florida State University and the V&A, London.

http://www.michaelshaw.org/

For further information and images please e-mail us on info@schwartzgallery.co.uk

www.schwartzgallery.co.uk

Doug Burton – Continuum 07.07.10 – 01.08.10

admin — Tue, 29 Jun 2010 13:22:04 +0000

Private View: Wednesday 7th July, 6-10pm

Continuum, Installation view, Schwartz Gallery, 2010

Installation view, Umbilicus, Schwartz Gallery, 2010

Exhibition Dates: 7th July – 1st August 2010

Opening times: Thursday – Sunday 12-6pm

Artist-in-conversation: 2pm, Saturday 17th July

Schwartz Gallery presents the work of Doug Burton showing a new body of work that has been in development for the last 2 years. ‘Continuum’ consists of a wax sculpture installation, computer-generated animation and a large-scale 3D stereoscopic floor installation that together aim to push the viewers’ sensory experience and in turn question the notion of perceived reality and the viewers’ engagement with it. The physical manifestation of layers of history that are in a continuous state of flux is at the core of Burton’s work.

Installation view, Schwartz Gallery, 2010.

Burton’s solo exhibition explores a sense of the primordial and the viewer’s psychological passage that would take them through shifting states as they engage with the work. In ‘Continuum’ the floor is printed with a pattern of a fragmenting earth that, as it fractures and separates, reveals the city’s essence beneath. The pattern that is formed is punctuated by the architecture of the environment that it envelops, creating incidents within the space that are accentuated by the 3D stereo effect. ‘Umbilicus’ is formed by a heavily modelled surface, echoing the remnants of some alien world or combusted reaction, where the morphology of the forms influence the troughs and peaks of its topography, the resulting wax casts replicate themselves enveloping and forming the entirety of the surface. ‘Straw Dog’ uses a sacrificial object to create a portal between the artist and the essence of the object, taking the title and starting point for the work from Lao Tzu’s, Tao Te Ching, Chapter 5, “Heaven and earth are ruthless and treat the myriad creatures as straw dogs; the sage is ruthless, and treats the people as straw dogs. Is not the space between heaven and earth like a bellows?”

Straw Dog, Projected CGI animation, 2010.

Doug Burton graduated from Winchester School of Art in 1998 and completed his post-graduate studies at the Royal Academy Schools in 2002. Current and recent shows include; National Sculpture Prize, Broomhill Sculpture Park, Devon 2010; “Galileo, Galileo” Arts Council and Royal Astronomical Society Funded Group Show, London, 2009. He is a tutor at Byam Shaw School of Art.

http://www.dougburton.net/

With generous support from Jesmonite

For press images please contact info@schwartzgallery.co.uk

A-L-L-O-T-M-E-N-T-S 29.04.10-16.05.10

admin — Sun, 25 Apr 2010 21:49:56 +0000

Installation view, 2010, Schwartz Gallery.

An event curated by Patrick Michalopoulos and Ismail Erbil

A collaborative project for the tenants of 92 White Post Lane,
E9 5EN, Tower Hamlets Borough.

Eva Bachmann, Adam Beale, David Blackmore, Dan Bennett, Liam Bierschenk, Joe Childs, Nellie Clements, David Cochrane, John Devolle, George Eksts, Ismail Erbil, Suzy Harvey, Phillip Hennessey, Rebecca Jones, Genie Korrigan, Dan Linn, Isobel Manning, Harry Meadows, Kit Merritt, Patrick Michalopoulos, Narinda Minnaar, Luisa Mota, Paul Noble, Alice Palmer, Rose Pearl, Ffion Roberts,Ashling Smith, Holly Smith, Joel Somerfield, Georgina Starr, Russell Thoburn, Iro Tsavala.

Private View: Thursday 29th April, 6-9pm

Performances by Dan Linn and Thee Intolerable Kidd & Friends

Exhibition Dates: Thursday 29th April – Sunday 16th May
Opening Hours: Thursday-Sunday 12-6pm

Schwartz Gallery invites the tenants of 92 White Post Lane to participate in a unique collaborative project that divides the gallery space into 80 ‘plots’ or ‘allotments’ reflecting the number of units in the three buildings at 92 White Post Lane. These spaces will be chalked out prior to the works being delivered to the gallery and installed according to the artist/creator’s corresponding unit number. This event forms the gallery as ‘meeting point’ questioning notions of curatorial responsibility and artistic pedigree. Units not occupied by artists may wish to use this opportunity to create an artwork. Allotments not ‘claimed’ by tenants for whatever reason will be left empty. Anyone wishing to collaborate with an artist who is not a tenant at 92 White Post Lane may do so but only in the allotted space and only if the tenant of the corresponding unit is involved in the collaboration. In this way a grid of allotments will be formed that is structured yet undefined; relationships between artworks reflect a diversity of approaches to what art is and how it should be displayed and interpreted while promoting a sense of community. There will be a large allotment allocated for performers on the private view night. Each act will have to have at least one member/tenant of the buildings.

Franz Ehmann and Jorge Rivera 14.04.10 – 25.04.10

admin — Sun, 04 Apr 2010 23:42:21 +0000

Installation view, Franz Ehmann and Jorge Rivera, Schwartz Gallery, 2010

Minaret, 2min, 39sec, HD.DVD still, Jorge Rivera, 2010

Installation view, Franz Ehmann and Jorge Rivera, Schwartz Gallery, 2010

Installation view, Franz Ehmann, Schwartz Gallery, 2010

Private View: Wednesday 14th April 2010, 6-10pm

Exhibition dates: 14th – 25th April 2010

Opening times: Thursday-Sunday 12-6pm

Artists-in-conversation: 2pm, Friday 16th April 2010

Curated by Patrick Michalopoulos and Ismail Erbil

Schwartz Gallery presents the work of Franz Ehmann and Jorge Rivera as part of a series of two-person shows questioning exhibition-making practice. The programme aims to create an innovative platform for dialogue between the work of contemporary artists while not being a collaboration. This exhibition is the last two-person show in a series of five that opened the programme of exhibitions at Schwartz Gallery in 2010.

Ehmann’s site-specific newsprint installation covers a large section of the gallery floor. Together with the artist’s performative engagement with the piece a sculptural text environment is formed questioning the production of opinion and value in cultural and media spheres. Ehmann engages with this proposition by creating subversive inter-linkings between his own body as an artist and a subject of the very same sculptural text environment.

‘The newspaper floor is hermeneutically fixed, a continuum of interpretations and translations. A speeding and ever increasing form of word and physical violence spreading out into every living space.’

Franz Ehmann

Rivera uses the intimate relationship between the bullfighter and the bull as a metaphorical tool to investigate the internal dialogue between the artist and their sculptural practice focusing on emotion as a site for the production of meaning in both instances.

‘In this show I am trying to capture the reverie, the moment of transformation I went through when my body entered the empty passages of the bullfighting arena. The heroic position of the sculptor/bullfighter/initiate, is here aimed to be subjected and transferred to the spectator.’

Jorge Rivera

While addressing different areas of concern the work of both Ehmann and Rivera reference ideas of private versus public systems of asserting a sense of territory and identity and of the intense and at times fraught dialogue and interaction between the two. The materials used by both artists are akin to theatre props propelling the viewer into the psycho-active/re-active environment of the gallery space.

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Franz Ehmann is a B.A Fine Art graduate from Northern Territory University ( Charles Darwin University), Australia. Recent solo exhibitions include Yes we can, Galerie Lisi Hämmerle, Bregenz, Austria,2009,

Relentless (without beginning nor end), BBK Galerie, Augsburg, Germany and Maximum acceleration, Conny Dietzschold Multiple Box, Sydney both in 2008. Group Exhibitions include In der schönen neuen Welt, Koloni, Dresden, Germany in 2009,Vienna Biennale, Vienna, Austria and Plan B, Kleine Altstadt Galerie, Dachau, Germany both in 2008. Franz Ehmann was the Director of Soapbox Gallery from 1997-2005 in Brisbane, Australia. He lives and works in Brisbane.

http://www.soapboxgallery.com.au/Franz.html

Jorge Rivera is an MA graduate and Ph.D. candidate at the Royal College of Art Sculpture School. Recent solo exhibitions include Gulbenkian Gallery Royal College of Art, 2009 and “Erotogenicity, Gneme del Narcisismo primario” Galeria SCQ, Santiago de Compostela in 2005. Group exhibitions include Degree Show, Royal College of Art in 2007, “New Life and the Dream Garden”, Fieldgate Gallery, London, 2007 ,“Self-Space” Airvideo@Airspace Gallery, Stoke on Trent and The Museum of Sorrow, Union Chapel, London in 2006. Rivera lives and works in London.

Piers Jamson and Alistair McClymont 24.03.10 – 04.04.10

admin — Sun, 14 Mar 2010 20:42:48 +0000

Alistair McClymont, The Limitations of Logic and the Absence of Absolute Certainty 2010, Schwartz Gallery

Installation view, Piers Jamson and Alistair McClymont, 2010

Installation view, Piers Jamson, 2010

Installation view, Piers Jamson and Alistair McClymont, 2010

Installation view, Alistair McClymont, 2010.

Installation view, Piers Jamson, 2010

Private View: Wednesday 24th March 2010, 6-10pm

Exhibition dates: 24th March – 4th April 2010

Opening times: Thursday-Sunday 12-6pm

First Thursdays late opening: Thursday 1st April 6-9pm

Artists-in-conversation: 2pm, Saturday 3rd April 2010

Curated by Patrick Michalopoulos and Ismail Erbil

Schwartz Gallery presents the work of Piers Jamson and Alistair McClymont as part of a series of two-person shows questioning exhibition-making practice. The programme aims to create an innovative platform for dialogue between the work of contemporary artists while not being a collaboration.

The specific installation parameters and physical orientation of each artist’s work in the gallery space hinge on the inter-relationship between McClymont’s The Limitations of Logic and the Absence of Absolute Certainty, a whirling vortex of air in the main floor space of the gallery and Piers Jamson’s installation Status, a technically ambitious take on the Victorian obsession with the skirting board, dado rail and cornice. Notions of the sublime rooted in Romanticism are juxtaposed with ideas pertaining to utopian ideals of Victorian society harking back to the classical decoration seen in the columns of ancient Greek and Roman temples. These historically specific models for perceiving reality and relating to and understanding the world are re-contextualised and

re-evaluated in the gallery space.

Piers Jamson’s installation entitled Status references domestic architectural detail; how the size and level of decoration determines the status of a room, but also the status of the occupants of a house in London in the late 19th Century.‘Status’ is an installation that can exist in various forms. At Schwartz Gallery we are presented with 4 corner sections inhabiting the 4 corners of the space, that allude to a much bigger installation existing outside the gallery space. All the elements that make up the vast skirting board, dado rail and cornice sections have been made by the artist, creating a range of individual profiles not normally found in a domestic interior. Architectural scale, domestic versus gallery display models and a the concept of a ‘Victorian Retro-Future’ are questioned in Jamson’s practice.

Alistair McClymont’s work is about phenomena and a yearning for the sublime; a continuing process of discovery and experiment that tries to unearth processes and sensibilities that often exist in our day-to-day lives. His artwork periodically uses subjects such as advertising and comments on their use of the Romantics’ sublime to promote their products. Rather than view this trend in advertising in a cynical way, the artist sees it as an indication of a deeper popular understanding of this kind of imagery, the work attempting to bring this to the fore.

While one artwork will focus on cultural interpretations of beauty, and see a new kind of beauty in those phenomena, another artwork will investigate the real thing. The Limitations of Logic and the Absence of Absolute Certainty seeks to bring a real piece of the sublime into the gallery. The piece sets up the conditions necessary in order to create a tornado. In utilising only what is necessary air can be directed to turn water vapour into a fierce vortex, one that you can touch and walk through. In its simplicity and immediacy the piece aims to give direct contact with the Romantic sublime, one of fear and beauty.

Each work will examine an individual subject, which may range from air fresheners to tornados, but it is the subject that will dictate the nature of the work. Each physical element of the piece is carefully considered, bringing the concepts to the fore. Sometimes this is done abruptly as in Honey and Almonds where each material in the sculpture was sourced from elements of the Toblerone logo. Glade®, Jasmine Mist™ is a photograph of a domestic interior swathed in a mist of air freshener capturing a combination of moment and domestic sensibility that the name of the air freshener evokes. In this way McClymont’s work spreads across many different media, but a solid conceptual direction prevails.

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Piers Jamson completed his BA in Fine Art in 1998 at Leicester University. Recent exhibitions include House of Fairytales, Tate Modern, London (2009), Wonder Island, Schwartz Gallery, London (2008), FreeShow, Five Years, London, (2007), Momento Hominem, The Museum for Objects of Virtu, London, (2006), Pencil, A Drawing Exhibition, Carter Presents, London (2006). Piers Jamson lives and works in London.

Alistair McClymont graduated from the Royal College of Art in 2005. Recent solo exhibitions include The Limitations of Logic and the Absence of Absolute Certainty at Pageant (2009),The Limitations of Logic (2009), Wyer Gallery (2007), Reception Space at ACAVA (2006), Hull Art Lab (2005), and selected group exhibitions include London Art Fair, project space (2010) Affluenza (2009), Concrete and Glass (2008), Political Almanac (2007), Cologne OFF II (2006), Temporary Contemporary (2006). Alistair McClymont lives and works in London.

http://www.alistairmcclymont.com/

Rosanna Greaves and Richard Stone 03.03.10 – 14.03.10

admin — Sun, 21 Feb 2010 22:56:43 +0000

Installation view, Richard Stone, 2010

Installation view, Richard Stone and Rosanna Greaves, 2010

Installation view, Rosanna Greaves, 2010

For a movie sketch made at the factory visited by Greaves please visit:

http://www.youtube.com/watch?v=GStYuYJBPgs

Private View: Wednesday 3rd March 2010, 6-10pm

Exhibition dates: 3-14 March 2010

Opening times: Thursday-Sunday 12-6pm

First Thursdays late opening: Thursday 4th March 6-9pm

Artists-in-conversation: 2pm, Saturday 13th March, 2010

Curated by Patrick Michalopoulos and Ismail Erbil

Schwartz Gallery presents the work of Rosanna Greaves and Richard Stone as part of its new series of two-person shows for 2010 questioning exhibition-making practice. The programme aims to create an innovative platform for dialogue between the work of contemporary artists while not being a collaboration. Greaves and Stone work with sound site-specifically and site-specific installation respectively. The empty Schwartz Gallery space formed the starting point for their two-person show both artists being struck by the space in its vacant state which seemed to expose clues to historic narratives that are now interwoven in its present state as a gallery.

Rosanna Greaves uses sound recordings she makes to delve into a building’s architectural identity, sense of place and accumulated histories of use and occupation. For her two-person show at Schwartz Gallery Greaves made a number of site recordings during a research visit to Schwartz Printing, a factory owned by Mr. Stewart Schwartz which was previously located on the site of Schwartz Gallery. Concentrating on the rhythm and musicality of the sounds of the machinery the recordings are re-assembled and re-installed into the gallery. The effect produced is of excavating the space, exposing what was there; using the invisibility of sound to conjure up an image in the viewers mind of what is missing or an apparition, ghost-like and mechanical in its presence.The composed sound of the absent printers circulates the gallery positioning the viewer in an active yet undefined role of visually tying together traces left by the very same machines on the gallery floor and the augmented architectural features of the space in its current form with the structures of the sounds that Greaves has resurrected within the space. Documentation from an interview held with Mr. Stewart Schwartz on route to the Schwartz Printing factory is also included and informed the sound composition.

Stone uses the vacant gallery space as the subject of his site-specific installations. The two recesses in the rear wall of the gallery space on either side of the columns running down its centre are concealed behind heavy dark monochrome curtains that dynamically and metaphorically amplify this focal point in the visitor’s field of vision. In a linking to Greaves’ work Stone deposits mounds of earth in and around the marks made by the printing machinery previously on the gallery floor symbolically intertwining ideas of territory with those of memory. Using a seductive layering of materials to enhance his process of working and interpretative scope Stone evokes a new transience in the space; a quasi-archeological enquiry in flux and metamorphosis. The works together are ultimately envisaged as sites that fall somewhere between excavation and burial. Stone works with the architecture of the space in a conceptually layered strategy that mischievously re-casts the dimensions and structural details of the gallery in a poetic light.

Rosanna Greaves completed her BA at Middlesex University in 2003. Recent works include ‘Jenny’ for o p e n e n d e d 3 Curated by Maeve Rendle, Ducie House, Manchester 2009, ‘Foot work’ for Nothing Works Curated by Michael Czerwinski and Amanprit Sandhu, as part of Open House. Shoreditch Town Hall, London 2008 and ‘Everybody wants to be a milk man’ for Diary of a Derelict Dairy in collaboration with the exhibitions curator Minnie Weisz, as part of london festival of architecture. The Old Express Depot, Bloomsbury, London 2008. Rosanna has also been a visiting Lecturer at Cambridge School of Art, Anglia Ruskin University since 2005.

http://www.re-title.com/artists/rosanna-greaves.asp

Richard Stone completed his MA Fine Art at Central Saint Martin’s, London in 2000. Recent solo exhibitions include; ‘reenactment of a memorial’, Madame Lillie’s Gallery, London; ‘the parlour’, Amwell Street, London. Group exhibitions include: ‘loadbearing’, Ada Street Gallery, London; ‘and it’s time, time, time that you love’, Terrace Studios, London; ‘responses from two islands’, Pinter Room, Hackney Empire, London; and ‘no place’ St Pancras Crypt, London.

http://www.richardstoneprojects.com/intro

Mark Selby and Kate Terry 10.02.10 – 21.02.10

admin — Sun, 31 Jan 2010 23:03:45 +0000

Installation view, Mark Selby and Kate Terry, 2010

Installation view, Kate Terry, 2010

Installation view, Mark Selby and Kate Terry, 2010

Installation view, Mark Selby, 2010

Private View: Wednesday 10th February 2010

Exhibition dates: 10-21 February 2010

Opening times: Thursday-Sunday 12-6pm

Artists’ talk: 2pm, Saturday 20th February

Curated by Patrick Michalopoulos and Ismail Erbil

Schwartz Gallery presents the work of Mark Selby and Kate Terry as part of its new series of two-person shows for 2010 questioning exhibition-making practice. The programme aims to create an innovative platform for dialogue between the work of contemporary artists while not being a collaboration. Examining the practice of Selby and Terry one is drawn into a dynamic of ‘the-viewer-as-navigator’ whose presence in the gallery space is set against ‘zones of activity’ or ‘fields of looking’ and of ‘looking again’.

Terry’s site-specific thread installation works with the architecture of the gallery space to question its function and physicality. Like a peculiar optical device akin to a two-way mirror, the individual threads map out and suggest an indeterminate number of planes and surfaces appearing and disappearing within the unchanging dimensions of the exhibition space. What begins as a delicate and tactile material is put through a rigorous process of measuring, pinning and connecting, transforming it into a tool for a dynamic yet elegant spatial intervention that twists and turns the space within and around it. The viewer is caught in an inseparable act of ‘looking through’ and ‘looking at’ the work in an enchanting inter-play between real and imagined architectures.

Questions regarding the role of the viewer are re-visited in the site-specific installation Selby has created in the gallery space. An ambiguous relationship between the structures and implied functions of Selby’s work, produce an effect of the ‘absent performer‘ or indeed of the ‘viewer-as-performer‘ in and around the installation. The work sets up a dialogue between binary opposites; interior and exterior space, seeing and being seen, technology and the hand made, as well as one between the inclusion and exclusion of knowledge as to the work’s operation. The function of the work in the gallery context and the role of the viewer in Selby’s installation hover indeterminately in a heady formal and metaphorical mix of received versus appropriated structural and communication models.

Mark Selby completed his MA in Sculpture at Wimbledon College of Art in 2008. He was the 2009 recipient of the Clifford Chance / University of the Arts London Sculpture Award. Recent and forthcoming exhibitions include ‘Transmission’, Grey Area Gallery, Brighton (2010), ‘Fault Line: Art in the Age of Anxiety’, The Nunnery, Bow Arts Trust, London (2009) ‘Affluenza’, Clerkenwell, London (2009) and ‘Short Fall’, Hand and Heart, Nottingham (2009). Mark Selby lives and works in London and is a Lecturer in Fine Art (FE) at UCA, Maidstone.

http://manifesto-art.tumblr.com/tagged/Schwartz

Kate Terry studied sculpture at Manchester Metropolitan University and received an MFA at the University of Guelph in Canada in 2002. Recent solo exhibitions include ‘10 x 10 x 10’, Gooden project space, London (2009), ‘Empty Voluminous’, 1000000mph, London (2007), ‘Interference’. Mercer Union, Toronto, Canada (2007). Recent group exhibitions include ‘Shadow Boxing’, Home House, London (2009), ‘Parallax’, Fieldgate Gallery, London (2008), ‘Heart of Glass’, Shoreditch Town Hall, London (2008), ‘Soot From The Funnel’, Lokaal 01, Holland (2008), ‘A Life of Their Own’, curated by Richard Cork, Lismore Castle, Ireland, (2008). Kate Terry lives and works in London, and teaches at Camberwell College of Arts and Chelsea College of Art.

http://www.kateterry.co.uk/

Ralph Dorey and Jonathan Lewis 20.01.10 – 31.01.10

admin — Mon, 07 Dec 2009 11:50:55 +0000

Installation View, Ralph Dorey (foreground) and Jonathan Lewis, 2010

Installation View, Ralph Dorey, 2010
Installation View, Ralph Dorey, 2010

Private View: Wednesday 20th January 2010, 6-10pm

Exhibition dates:21-31 January 2010

Opening times: Thursday-Sunday 12-6pm

Artists’ talk: 2pm, Saturday 30th January

Curated by Patrick Michalopoulos and Ismail Erbil

Schwartz Gallery presents the work of Ralph Dorey and Jonathan Lewis as part of its new series of two-person shows for 2010 questioning exhibition-making practice. The programme aims to create an innovative platform for dialogue between the work of contemporary artists while not being a collaboration.

The process-based investigations of Dorey’s site-specific sculptural installations relate a vision and evolution of thinking seemingly at odds with Lewis’ inkjet prints of luxury designer stores. What unites their respective methodologies is a denial of linear representational devices that push and pull perceptual fields to disrupt and merge categories of objects and drawing,image and representation.

Both artists take on the role of ‘explorer’ or ‘outsider’. Lewis operates on the periphery of consumerist rituals observing designer store windows and the urban structures that propagate them; it is as if the pixelated images that are subsequently generated from his photographs somehow bare a trace of his rebuttal of these rituals distorting and exposing another reality. Similarly Dorey traverses the act of making in a constant churning and upturning of received structural paradigms that denies the viewer a ‘complete’ version of reality communicating a fragmented sense of place; a set of bearings that is at once distorted and imbued with a palpable energy and direction.

‘I think its about spreading out

Stopping and spreading out

Carrying Delivering something

Moving it to its place of use

But having various protocols, – or even simply the ability to improvise – for potential situations, climates, circumstances.

To stop and survey, to record.

Topography.

Ralph Dorey, 2009

‘I like the way the abstract element is formed ‘naturally’ in the sense that they are generated by the computer according to averages and

chance – the stuff of evolution.’

Jonathan Lewis 2009

Ralph Dorey completed his MA in Sculpture at the Royal College of Art in 2008. Recent exhibitions include “Zen Arcade Precision Collider” Front Projects, London / TheBunkerGallery, London / NEXT, Chicago, Build” Blyth Gallery, Imperial College, London and “Skinflint” Lewisham Arthouse, London all in 2009.

www.ralphdorey.co.uk

Jonathan Lewis completed his Certificate in Professional Photographic Practice, London College of Printing in 1997. Recent exhibitions include Jack presents Sala do Veado, Natural History National Museum, Lisbon, Portugal in 2009 and Pixelated, Winston Wachter Fine Art, New York, NY, Jonathan Lewis and Tim Pitman, Deutsche Bank, London both in 2008.

www.jgdlewis.com

Krizia, digital print, Jonathan Lewis, 2009