Black Out, 2012 Durational performance, Los Angeles Installation: glass, rope Lucy Joyce In 2012 Lucy Joyce walked around the perimeters of an LA hotel rooftop. She was staying in this hotel whilst in LA to make another work (Rupture, 2012). She used the opportunity of the hotel site to also make Black Out, which she refers to as paying homage to Bruce Nauman’s “Walking in an Exaggerated Manner Around the Perimeter of a Square” 1967-1968. lucyjoyce.net
Inside Out, 2015 Mixed media David Ben White Inside Outside presents a series of paintings of imagined interior spaces with plate glass windows as the main point of focus. The interior/exterior spaces appear to affect the same visual/graphic language. The loneliness of the modernist realm and a sense of alienation and distance pervades the interior/exterior images. It continues White’s absorption and engagement with the language and aspirations of modernist architectural design and art. The installation creates a conversation between the works, utilising an interior design logic, in which a broadened network of connecting ideas and articulations take place. davidbenwhite.com
The Empathetic vs. The Mimic, 2011 C-type lambda print The Kiss, 2011 Steamed pear wood Natural Inside, 2011 C-type lambda print Jonny Briggs Although easily assumed to be a flipped negative or digitally manipulated, the items depicted in The Empathetic vs. The Mimic were collected in pairs from Briggs’ parent’s home, and arranged as if a symmetrical image from the viewpoint of the camera, as if a Rorschach test. One side was made intuitively and spontaneously, with items falling into place, and the other side was mimicked to match – through thought. Briggs views this piece as a marriage of thought and feeling, and a blurring of self and other. There is Briggs on one side, and his partner on the other, performing as Briggs’ Father, wearing a wooden mask made of his head. Inside the mask is a hole in the shape of Briggs’ own head, so that when the mask closes around his face, it pushes it into a smile. jonnybriggs.com
Wandering Monument (4REELZ), 2015 Video installation Rafal Zajko Wandering Monument (4REELZ) aims to explore ideas of assemblage and archive. Through an anachronistic use of fragments and out takes it asks the viewer to look at the video from a collage-like or even sculptural perspective, which layers and grows in a new found rhythm. Sequences previously attached to separate video installations are now used as raw material. Seemingly contradictory, Wandering Monument (4REELZ) allows the assembled clips to rub, bump and grind against one another. rafal-zajko.com
Sets for domestic leisure, 2015 Collage Cecilia Bonilla The series Sets for domestic leisure appropriates vintage images from a found publication which depicts female nudes in semi-domestic spaces. In each piece, sections from the appropriated image have been cut-out and repositioned in such a way that they obscure and replace the subject’s physiognomy, whereby drapes, props, clothes and body sections take the place of facial features to form new characters and meanings. Visual harmony and juxtapositions intuitively prompt new relationships between the characters and their setting. ceciliabonilla.com
Flints in Gluten, 2015
Vacuum-formed plastic, powder coated aluminium and expanding foam
Nicolas Deshayes
Nicolas Deshayes’ sculptures use materials such as anodised aluminium and vacuum formed plastic to embrace the glossy aesthetics of 21st century design. Despite their emphasis on slick industrial surfaces and physicality, Deshayes’ works maintain a human presence in the form of glutinously rich, bodily allusions, engaging with the materials in ways that distort the ordinary. nicolasdeshayes.net
Mari, 2015 Video installation Francesca Ulivi Mari (‘seas’ in Italian) was made in collaboration with the Japanese composer, Shizuno Tanaka, and Ulivi’s grandmothers. During an afternoon spent at home, the two grandmothers were asked to wear waterproof skirts made by Ulivi. The two women were asked to move their skirts to reproduce the sound of the sea. Given the absurd and almost impossible task, the event turned into an afternoon of confusion, laughter, and personal creative expression. The edited recorded material evokes the sea and attempts to bring the viewers ‘somewhere else’. francescaulivi.com
Elbrus, 2015 Oil, plastic, varnish on canvas Narcissus and Goldmund, 2015
Engraved dyed cotton duck, brass, jacket
Zehra Arslan
Elbrus and Narcissus and Goldmund represent two different facets of Arslan’s practice, both connected by a preoccupation with surface and material. Where Elbrus moves outward and has an almost sculpted surface; Narcissus and Goldmund works with the bare minimum, working its way into the canvas to create a sense of space and depth. Arslan refers to the works as objects, both have a sculptural quality to them, different materials are brought together and mixed with paint or colour to create a material composition in order to achieve an image. It is this push and pull aspect that Arslan is interested in, highlighting and simultaneous eroding of the intrinsic cultural and social meaning of the various materials used. Like a writer merging disparate storylines together in her next chapter, the different materials and objects brought together on these surfaces become different narratives on the very same page. zehra-arslan.com
DIY, 2011 House gloss paint on shoes Rosemary Cronin Cronin’s work addresses both desire and repulsion, the shoes are a reaction to a hysteric trend for a certain red soled shoe. rosemarycronin.co.uk
3rd stone, 2015 Nero Portoro stone, LED tape, Amp, speaker, Arduino, microphone cable Haroon Mirza in collaboration with Mattia Bosco Haroon Mirza worked in collaboration with Mattia Bosco modifying a Portoro sculpture to illuminate one of its veins. There is a low frequency sound emitting from the speaker next to the stone, this is the electricity powering the blue light made audible. The work combines one of the most traditional sculptural materials, stone, with the most contemporary techniques and media. Haroon Mirza initially commissioned sculptor Mattia Bosco to create the marble stones needed to create this work. During the project, the relationship between the two artists developed from one of Mirza commissioning Bosco to a joint project with equal authorship. Courtesy, the artist and Lisson Gallery.
Copyright: All contributors 2015