Celestial Talking

Artist Profile

Consisting of a pair separate video works, ‘Black Blank’, and ‘Colour Color’; ‘Croma Coma’, was conceived as a neutral space, a void were the experience of null (no/lack of light) overwrites the materiality of the body and the ever presence of linguistic thought. Blank Black, a television that switches arhythmically between the inert grey of an unpowered screen and the glowing dark of broadcast black sits across from ‘Colour Color’. In turn, this second video shows the cycloptic (Cyclops like/the single round) window of a classical façade as it floods with a hallucinogenic swirl of light emanating from an unseen source. The building’s eye is attempting to construct a code from the dumb binary flickering of the empty screen across from it. The foreboding physicality of the stone building is in stark contrast to the playful colors that flood its surface. Its classical proportions and symmetries embody the long tradition of rationalist aesthetics and morality that is now the site for the exchange of unreadable gestures of pure light, echoing the narcotic experience of television emersion. If, as Jerry Garcia postulated, “cyberspace is where you are when you are on the telephone”, then in a similar way the television experience is one that separates the consciousness from the body. The work leaves the viewer caught in a disembodied reverie between the measure and weight of the material world and the incomprehensible cosmos of light. Bern Roche Farrelly, born 1979, graduated from the Dublin Institute of Technology in 2002 with a First Class honours in Fine Art before moving to London to do his MA in the Chelsea Collage of Art. Since graduating he has he has practiced as an artist, curator and performer throughout Europe, showing at the Cork Art Festival in Ireland and in a fringe show at the Athens Biennale. Publications include: OMSK book and “Love Love” Magazine. In the last year he has had two solo exhibitions in London, entitled “Appendicitis” and ‘Read “Read”.’

www.bernrochefarrelly.com

Artist Profiles

Dominic Allan

Dominic Allan’s work is redolent of the ethical and pragmatic Orwell of My Country Left or Right or The Lion and The Unicorn. In Allan’s hands this is infused with the sparkle of a candyfloss rush together with a valedictory reflection upon the hangover that is Britain’s seaside culture. This is a culture that has always been driven by some substance or other.Sugar, alcohol, smack. Allan’s Our Destination was Lutopia is a visceral work both disgusting and alluring. Constructed from strawberry whips and panel pins, it is an injunction to get horny. Abandoned joggle-eyed bicycles, photographs of rickety piers bereft of human activity, the work is unpopulated, save by the mug shot of a missing child. This metonymic quality, the appeal to something or someone else is an inversion of the escapism and promises, the bright lights that once attracted Britons to the seaside in their droves, slaves as they were to shiny metaphor. In Allan’s work we are confronted with a sugary octane axis and its effect upon British seaside culture; the saccharine hedonism and distractions of the age before Easyjet, reigned in by British parochialism and compulsory fun; where the dilapidated Victorian proscenium lives cheek by jowl with the misery of the junky, the migrant worker, and thesans-papier prozzer.

http://www.transitiongallery.co.uk/htmlpages/fatty_gingo.htm

Celestial Contrakt

Documentation of initial project development for Schwartz Projetcs

1 November  

works by

Christina Mitrentse

*Jonas Ranson

Lee Wagstaff

Marc Wayland

*The knight’s tour problem is an instance of the more general Hamiltonian path problem in graph theory. The problem of finding a closed knight’s tour is similarly an instance of the hamiltonian cycle problem. Note however that, unlike the general Hamiltonian path problem, the knight’s tour problem can be solved in linear time.

Artist Profiles

Alex Bunn

Alex Bunn’s work combines a role as producer; working with diverse groups of specialists, with his own artistic activity. Typically an artwork may necessarily draw on skills as diverse as radiography, prop-making, pyrotechnics, prosthetics, sculpture, haberdashery, electronics and cooking. Because of the often transient nature of the materials and occurrences, the results are usually displayed as staged photographs or custom-made illuminated cabinets. In broad terms, his thematic predilections are science, philosophy and Epicureanism. Fascinated with the converging paradigms of science, the supernatural, the superstitious and the absurd, his work meditates on the subjectivity of truth and its fluctuating points of reference. He uses science as a springboard for his imagination, discarding more formal representations to produce a body of work that playfully manipulates and transforms known objects to produce unsettling combinations. Through reclassification, and the rearrangement of order, he acknowledges scientific methods, but the results are more akin to that of a “mad Scientist” than the clean and precise methods of a modern technician. In an era of Biotechnological modification, his sculpture Quabrid imaginatively explores the reshaping of the human form. The bust is formed by using multiple high-resolution medical scan topography of different tissues of the body and is then fused with architectural components to create a unique hybrid portrait. Alex Bunn has recently exhibited at the Royal Institute of Great Britain, Candid Arts Trustand The Victoria & Albert Museum.