VENUE
PRIVATE VIEW
EXHIBITION DATES
Bethan Hughes
Project Space, School Of Fine Art, History Of Art & Cultural Studies, Leeds
3 March 2017
4 – 23 March 2017
SOFTBODIES Practice-led PhD Candidate at the University of Leeds, Faculty of Fine Art, History of Art and Cultural Studies, Bethan Hughes (b. 1989, Wigan) previously completed an MA in Media, Art and Design at the Bauhaus-University Weimar, Germany (2015) and a BA in Fine Art at The Glasgow School of Art (2011). Recent exhibitions include: BERLIN CAMOUFLAGE, collaboration with Duygu Atceken, Plattenbauvereinigung, Tempelhofer Feld, Berlin (2016); NEW PRUNK, Bauhaus Str. 1, Weimar (2015) ; TRANSMIT/TRANSLATE, collaboration with Golriz Behgoo, WeArtGallery, Weimar (2015); STRANGELY FAMILIAR, collaboration with Golriz Behgoo, Mariannenstraße 9, Weimar (2014); BLIND PLOTTING, group show, The Arches, Glasgow (2012). Recent publications include: PURE BEAUTY, collaboration with Louis De Belle, in San Rocco 13, San Rocco Milan (2017); FACETS OF KOTTI, in Forms of Formalism No. 3, Lucia Verlag (2016); CEREMONY, collaboration with Louis De Belle, in 5 Fundamental Acts, a+m bookstore (2016).
Bethan Hughes, SOFTBODIES (2017)
Bethan Hughes SOFTBODIES
Pigment print on Kozo paper (118×84 cm), latex, scaffold, 3 screen hardware-render loops. Softbodies or Soft Body Dynamics: A field of computer graphics that allows for visually realistic physical simulations of the motion and properties of deformable objects. For instance: a rubber ball bouncing off a polished concrete floor, a fleshly mass pressed up against an unyielding metal surface, a sheet of fabric pulled down by gravity until it meets resistance, draping, fold, gathering in a pool. Also: digital avatar, profile picture, soothing filter. And the tired, bruised shell that awkwardly hunches over liquid crystal display clutched in palm. Now peeled away from the surface of the screen, the static charge of latex attracts specks of dust and strands of hair. Fingerprints on glossy membrane show traces of careless handling and scars form where it snags on sharp edges. All this matter: it’s too heavy and too inefficient. So retreat, back to the screen, and try to repair, softbodies.
CENTRE FOR AUDIO VISUAL EXPERIMENTATION
fine-art.leeds.ac.uk
THE FOLD
Bethan Hughes #2
SOFTBODIES —
Imagery: Bethan Hughes, SOFTBODIES (2017)