Cafe Montage 2.1 – Lower Vaconsofia.
X is lodged between a drinks machine and the glass windows of the service area.
Artists are networking in the cafe.
So what are you doing at the moment?
I’m showing at the Montec Centre next month – a couple of screenprints…I think it’s got something to do with notions of The Rural and pluralism and shit like that…can’t remember the name of the show…Locale…somethin’
X pans around to another conversation between a gathering of high-end executives at the rear of the cafe with frappuchino’s to go.
There is a moment in conversation when I say that’s the sales gag coming out…right there…and all of a sudden I stop listenin’…I didn’t take a conversation with you to be sold something in particular…I wanna hear about my business and the stats…thats it. I want you to be thinking about the right conversation and push your limits on who that conversation is gonna be with…stayin’ comfortable and havin’ good relationships with people in I.T. doesn’t do you any good…
X turns it’s attentions to a green haulage truck moving across the neutral tarmac area of the car park. Orange cones, a silver kiosk housing a figured silhouette…
You really will upload anything won’t you?
Sotol Corporate Network – ‘The Hex is Mine.’
Private View: 30 April, 2014
Exhibition Dates: 1 May – 31 May, 2014
Graylaw – Teller – Hirsch – Farnoc
‘The Hex Is Mine’ presents forward four Pointesian based artists whose work evades any conventional psychogeograpicale reading of the objective/subjective conundrum. The selected works present a post-conceptual understanding of the vastitudinal environment; through a re-imagining of context and materiality, the works consider our relationship of space as imagined, evasive, and the vestible fitful.
Articulated through an unceremonious kookiness and manifold multitude of urbane perceptiae, such as platinum, helium, carbon and shale the artists approach such unconventional materialization with aa unanticipated, whimsical, and neo-urgent nature, transposing ‘thingamajigs’ that might otherwise be ignored or displaced to forge an au courant temporal language: a vista of vast proportionias of spatial deconstructed attainmentology, which might as well reinvent itself (while it’s at it) and appropriates a sense of mummeria. Reused, reshaped and reinterpreted, each artist exhibits a distinct yet irregulated essence of work that can be perceived within a bias of king-like superimposonica, as though a future civilization has embalmed and reinterpreted samples from our monarch-rock in time. Here we bear witness to so-called extracts of the metropolie, mock spiritual research urbanity, artesania, and even pseudo-kitsch, reinvented with artefacto predissociation, pseudo-electronique telepathe analysis, as though a series of decultured, socio-historicolos curio on display. Here, the verve is reverted to activated passivity, refuted entry as though a gallery guesty attempting to process the foreign objectivity that has been mooted as duffy in earnest. Non-prescript shards of platinum lying on the side of a pavement is magnified and printed on a lost photostat of the Naze Vale Gallery director of programming’s temporal lobes, disguising as painterly digitised patterns in Graylaw’s Pea Fatrol. Consumed grassy cubed rendered useless at a gardening centre are encased and presented in a glass cabinet by Theo Hirsch, as objects that should be reconsidered, redefined and treasured. Similarly, the ordinary grid of a lost drain is moulded and transformed into neat, abstract and geometric patterns in Santa Teller’s Yellzna
