patternsthatconnect

abstract art, a systems view

Posts Tagged ‘Andy Wicks

Other Rooms at Basement Arts Project

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Basement Arts Project, a non-traditional exhibition space in the cellar of a domestic house just outside Leeds, recently hosted Other Rooms, curated by Saturation Point, (Patrick Morrissey, Clive Hanz Hancock and Charley Peters), a show featuring works by the following artists: Giulia Ricci, Sarah Sparkes, Andy Wicks, Ben Woodeson, John Workman, Clive Hanz Hancock, Patrick Morrissey, Charley Peters, and Walker Hill, each containing its own light source, and each artist responding, whether in film, sculpture or installation, to this darkened alternative space, or other room.

Ben Woodeson, Super Sexy Sculpture.. Oh Yes! (my Photo)

Ben Woodeson, Super Sexy Sculpture.. Oh Yes! 2014, brass, cord, neon, books. My snapshot

I don’t know if I would be entirely correct to describe the works as “site specific”. I could imagine the animated films of Morrissey or Peters and the Ben Woodeson sculpture for example, having independent and portable existences. But I could also argue that appearing here they take on a character that is at least partially determined by the space itself, Woodeson’s Super Sexy Sculpture… Oh Yes reflecting its surroundings not outwards, as one might normally find in a mirror, but rather by way of its concave stainless steel surface, enfolding the external project space into itself, surrounding its own surroundings, as it were.

Patrick Morrissey, Goodbye Ploy 2. (my photo)

Patrick Morrissey, Goodbye Ploy 2, 2014, Animated Film, (my photo)

Patrick Morrisey’s film Goodbye Ploy 2, a system of flickering red and orange triangles and rectangles in grid formation, shown against the stone wall, will look like this only here, incorporating the particularities of this uneven surface into the moving image, such that the boundary between system and environment becomes ambiguous. Shown elsewhere, the image would assume some of the specific characteristics of another place. In this work the neutrality of the screen that normally allows film to transcend the limitations of geography is contradicted.

Hanz Hancock, Inside/Outside, 2014, mixed media, (my photo)

Hanz Hancock, Inside/Outside, mixed media, my photo

Clive Hanz Hancock’s installation constructed of circular pieces of PVC tubing stacked in a narrow vertical wood container alongside a fluorescent strip light is situated in a slim alcove. The light rather than illuminating the rest of the construction, tends to dazzle, distracting the viewer, bringing more attention to itself than to the subject we might have wished it would throw light upon. It is almost as if the light subverts its own purpose. Also, similarly to Goodbye Ploy, whilst the work could conceivably be sited in another place, at another time, making it a stand-alone sculptural piece, it will look the way it looks here only as long as it is positioned in this one space, so could be said to exist only here, affirming the particularity of the here and now whilst also contradicting the mobility of the stand-alone art object, or commodity.

Sarah Sparkes’ Flue is inherently tied to the site it inhabits and enlivens. An LED infinity mirror is located inside a hole in the chimney breast that may once have conveyed exhaust gases from a stove to the outside of the building. Am I to see in it a metaphor for the relationship of an artwork or exhibition venue to the external world? Not so much the world in the artwork, as the artwork in the world, in which it appears as a vapour which soon disperses and is forgotten. It may also be that, appearing to recede infinitely into space without ever representing objects in a ‘real space’ this art object presents us with illusion for its own sake. Rather than holding up a mirror to the world, this work is a mirror that provides access to the immateriality of illusion as illusion. Not a window on the world but a portal, or perhaps even a means of transportation, into infinity. Equally I sense being enticed to look into the flickering light as one might look into a fire and see images, the work, in this interpretation, now relating more to the inner world of the viewers’ imagination.

Sarah Sparkes, Flue, (My Photo)

Sarah Sparkes, Flue, 2014, Mixed Media. (My Photo)

Imaginary worlds, from a distant or mythical past seem to feature in John Workman’s Box of Clouds, a metal light-box salvaged from disused darkroom, containing a painting on glass of a figure in a landscape, the light inside glowing through the painted clouds and trees like the dying light of a Claude Lorrain painting and creating a dreamlike quality.

Andy Wicks’ installation, on the other hand, directs my attention to the world immediately in and around the artwork, to the here and now of the project space itself, rather than to immaterial, infinite or imaginary worlds. Making use of LEDs arranged around an empty plane, like a frame around a blank canvas, it’s as if he transposes the tradition of monochrome painting into another key. I am reminded of David Batchelor’s extensive series of photographs of naturally occurring monochromes, except that in Wick’s installation the monochrome occurs by artifice, constructed, but by different means than paint on canvas.

Andy Wicks, Untitled installation, 2014, (my photo)

Andy Wicks, Untitled, 2014, installation, (my photo)

I’m struggling to work out what’s happening in collaborative duo Michael Walker and Martyn Hill’s golden, glowing, internally-lit drawing, struggling that is, to work out how it is constructed and from what materials, is it card? It has the appearance of something more hi-tech than that. This engaging piece, featuring serial repetition of geometric units in a grid, likely employs a mathematical system that I am attempting to grasp, and again, not quite getting perhaps because of the back-light fatigue I am experiencing. There is a point at which a regularly repeated sequence starts to dissolve into a unified monochrome expanse and that’s happening for me now, so that what I am most aware of is the golden light emanating from this rectangular box-like object that is not painting, or sculpture or drawing but perhaps a merging of all three. And this not quite getting it is, I think, part of the attraction. I am required to put in an effort with a work that gives up its secrets slowly.

Walker Hill, Prototype, Illuminated pared Drawing# 1 . 2015, (my photo)

I’m now engrossed in Charley Peters’ animations, 99 Drawings and 99 Drawings #2(RGB) ≤ (∆ ̇3) totally fascinated by these line drawings that become a cube that seems to construct and deconstruct in the process of rotation. In a way it’s a study in object formation, or how we construct three dimensions when our eyes actually see only in two. It is equally a demonstration of how we perceive movement when a series of drawings are presented to our eyes one after another in quick succession, that systems quality of emergence when two events are combined and something new and unexpected is generated, resulting here in a piece of work that is endlessly fascinating.

Charley Peters, 99 Drawings ...(my photo)

Charley Peters,Still: 99 Drawings #2(RGB)≤(∆ ̇3), 2015, animated pixel drawings. (my photo)

Giulia Ricci’s beautifully slow moving animation entitled Order and Disruption is beguiling, a pattern in blue on white is interrupted as parts become slightly out of sync’ with the rest, and then realign as other sections become slightly out, creating a sense of morphing and bending of space with worm-like figures appearing here and there, but so slowly that it’s difficult to differentiate between my own shifting perception of changing gestalts (that would be there in a still image) and that which is a result of the animation, almost as if that ‘other room’ of my own neuro-logical processing, perhaps not such a ‘black box’ after all, is here coming into awareness.

Giulia Ricci, Order and Disruption, animated film, image by courtesy of the artist and Saturation Point

Giulia Ricci, Order and Disruption, animated film, image by courtesy of the artist and Saturation Point

Thank you Basement Arts Project for your warm welcome, especially as my visit is made out of normal gallery hours. This is a great space for showing and seeing new art, and I am sure I will be back another day.

Other Rooms was on view at Basement Arts Project from 16 Jan to 25 Jan 2015.

Crossing Lines @ &Model

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I arrive very late in the day (both literally and metaphorically) for the amazing exhibition Crossing Lines, at &Model in Leeds, and being my first visit to this venue I am immediately  impressed both by its central Leeds location, opposite the Art Gallery and Town Hall, and by the space itself, occupying all three floors of a 19th century building. Just looking through the window the work looks great and I am relieved that someone has waited for me so I can see the whole show.

I learn from the gallery notes that “The sixteen artists presented by Patrick Morrissey and Clive Hanz Hancock … all share reductive, formal, or non-objective approaches to image making”. It occurs to me that what we mean by labels like abstraction is as difficult to situate now as ever, and perhaps more so now because contemporary practitioners may well be doing something quite different than its early proponents. I usually hesitate to use the word “reductive”connoting, for me, a paring down to essentials, or a search for essence as well as a lessening, and I find myself unwilling to think of the concentration on process or form as in any way a lack. Seeing the work on show here, if ever I needed proof of the vitality of contemporary abstract/reductive/formal etc, approaches it is here in abundance.

Installation shot showing works by, from left to right, Patrick Morrisey, Andrew Harrison, David Riley, Patrick Morrissey

I am even tempted to propose the word additive, wondering if, contrary to a “paring down” we get instead a “building up”, adding new objects/images to the world, objects and images that continue to be as challenging and interesting as the abstraction of 100 years ago.

Drawing on the constructivist tradition, Morrisey and Hancock pursue a systems approach, as do others here like David Riley and possibly Giulia Ricci and  Andrew Harrison. Because I know that Morrisey’s paintings and videos (the video Four States, shown here is mesmerizing), are based on numerical systems, I attempt to work them out and fairly quickly reach the limit of my ability to do so without an external prompt. It’s one of the things that fascinates me about number in relation to images: attempting to “break the code”, is a specific mode of viewing, or state, that seems different to the one I engage in when I give up the attempt and simply look. And simply looking I appreciate the beauty of the image: I “get” the beauty of the abstract relations even without being able to translate them (back) into the numerical code. I think what’s going on here is akin to the pleasure I get from listening to Bach.

Patrick Morrissey, The Queen is Dead, 2011. Image by courtesy of the artist

Patrick Morrissey, The Queen is Dead, 2011. Image by courtesy of the artist

Looking at Tower, by Clive Hanz Hancock, I become unclear about what is image and what is object, I know it’s a relief, constructed from plastic tubing arranged in a vertical grid, yet it seems flat, I even begin to wonder whether the plastic tubing is a trompe l’oeil effect. What’s coming into question for me here is what I know, and how I know it: “how much of this construction is “out there” and how much of it is “in here” and realizing that it’s the interplay, that constitutes the art work. Here aesthetics and epistemology meet.

Clive Hanz Hancock, Tower, 2013. Image by courtesy of the artist

Clive Hanz Hancock, Tower, 2013. Image by courtesy of the artist

David Riley’s Code, is a series of digital images printed on sheets of paper, presented like brochures, and held together with plastic binding combs, the combs becoming part of the overall image. I read it as a painting, whilst simultaneously seeing printed digital material, and again I believe that the image is based on a numerical or alphabetical code that I struggle to decode. It’s the very act of looking that I think is being deconstructed in the process of viewing this piece.

David Riley, Code, 2013-14, multiple materials installation, 33 x 180 cm. Image by courtesy of the artist

David Riley, Code, 2013-14, multiple materials installation, 33 x 180 cm. Image by courtesy of the artist

There’s something architectural about Riley’s image, as there is in the works of Andrew Harrison (entitled Construction Project 3 and  Construction Project 4) and Clive Hanz Hancock. In these pieces it’s the boundary or extension of abstraction, that comes to mind, as it does in many of the paintings here that almost approach figuration as in Mary Yacoob‘s Doodle Drawings, and the painting Low Down by Daniel Sturgis from his Boulders series, where changes of scale seem to create vast spaces and where abstract image becomes slightly humorous, perhaps referencing the cartoon, a kind of abstract pop art?

Daniel Sturgis, Low Down, 2013

Daniel Sturgis, Low Down, 2013

Vincent Hawkins’ paintings and works on paper are probably the most provisional of the works on show here and possibly Tom McGlynn’s Signal the most minimal, if such labels are not too misleading. Likening Hancock’s and Morrissey’s sculptural pieces, colour intervals on wood strips leaned against the wall, to John McCraken‘s minimalist work is I am sure also misleading but a connection I find difficult not to make. There are sculptural pieces here also by Mick Frangou, Phill Hopkins and Andy Wicks, all that seem to at least quote minimalism whilst also expanding it, Hopkins ans Wicks exploring the border between the two and three dimensional as well the border between art and everyday objects and Frangou continuing his personal process of repeating a T shape symbol.

Marion Piper paintings here from her Free Man series are marvelous. I have the impression that her process in these paintings involves a dialectical pairing of opposing forces that are held together by overlaying one upon the other, as if something suggestive of the organic (wavy lines or soft free-flowing motifs) is overlaid with ‘harder’ geometric designs, resulting in a synthesis which is both and neither the other two, “transcending them” sounds too metaphysical, and “combining them” sounds too prosaic, but in viewing the paintings I enter a state in which these opposing positions seem to be held in stasis, not just visually, but also psychologically.

Installation shot, Left to right: Marion Piper, Free Man 3, Marion Piper, Free Man 4, Patrick Morrisey, Indirect Enquiry 2, Front: Mark Frangou, Tome

Installation shot, Left to right: Marion Piper, Free Man 3, Marion Piper, Free Man 4, Patrick Morrissey, Indirect Enquiry 2, Front: Mark Frangou, Tome

I think something similar takes place in relation to Giulia Ricci’s beautifully executed drawings where a carefully ordered design begins to break down, or a pattern is systematically interrupted, the tracing of which, by eye and mind, seems to create a shift of state. This mildly “calming” experience is repeated for me in many different ways in this show, Frixos Papantoniou appearing to suspend geometric (mostly triangular) shapes in a contemplative space, David Leapman getting close to psychedelia, and Mark Sengsbusch presenting dualisms that are entirely matter of fact, (he describes them as “two-color painting(s) where there is no background or foreground. No layering. All of the paint is equa-distant to your eye”),  yet the viewing of them is psychologically complex.

Installation shot, Mark Sengsbusch, Right: Comb 15 (Anaemic Shield), 2011, Left Comb 9 (Frozen Reel), 2011

Installation shot, Mark Sengsbusch, Left: Comb 15 (Anaemic Shield), 2011, Right: Comb 9 (Frozen Reel), 2011

And perhaps that’s what I want to say most about this exhibition of contemporary reductive art: there is nothing “reduced” in the action of seeing these works, I experience more of an “addition”, a “fulness”, an “abundance”.

Crossing Lines was on show at &Model from 23 January to 22 February 2014. I just wish I’d got there sooner!

First Come First Served at Lion and Lamb Gallery

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First Come First Served, the open show at Lion and Lamb Gallery, with no selection criteria other than ‘first come first served’ is described to me by one of the participants at the hang/opening as “democratic”. If that suggest selection by majority then perhaps “anarchic” says it better, so long as we remember that anarchy and chaos are not at all the same thing. I keep hearing people say how curated it looks, how considerately artists have placed their work, leaving room for others and seeking complementarity rather than competition, which is perhaps what you would expect at a venue named after that biblical lion and lamb pairing.

FCFS 1 FCFS2

It’s a collaboration of sorts, unspoken and implicit, reminiscent of a group exercise I learned from Simon Horton, author of Negotiation Mastery, where in large group of people each individual chooses two others in the room, and without letting on who they are positions themselves so they form three points an equilateral triangle. After a few minutes of moving around, and without speaking  or signalling to each other, the group quickly settles into a whole where every part forms an equilateral triangle with two others. The space at Lion and Lamb seems to have been negotiated in a similar fashion.

The only thing that is predictable about a show of this kind is its unpredictability and variety. There are works here by a diverse range of artists including Katrina Blannin, Alli Sharma, Sarah McNulty, Andy Wicks, Laurence Noga, Andrew Bick, Gwennan Thomas and a host of other names some well known and some new to me. I have met Nancy Cogswell here at a PV at the Lion and Lamb Gallery before so it was good to meet her again and to see her exquisitely painted masquerade-style mask in a drawer (sorry, Nancy I don’t know the title and my snap isn’t good enough to show). I met Laurence Noga also at the show he curated here a few months ago. Today his diptych is reminiscent of one of the paintings he showed then, but much smaller, almost like a miniature preliminary study, except that the collage elements, I think, make it look much more a thing in itself. It’s quite beautiful, tiny and jewel-like.

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Removing my own 8″ square painting Duke Street Tetractys from my bag, I place it in a position that had been left especially for it, directly beneath a lovely painting that could be a photogram of a necklace.

FCFS3

I am enjoying talking with artists about their work and I am asked a few times about my own, one person tentatively classifying it as “Op?” It occurs to me that, like “systems”, that’s a category that often gets disavowed: “it’s not quite Op” or ” it’s not strictly systems art” as though either of those would be very bad. So I proudly answer “yes, and it’s systems based”. I get to say something about my interest in colour-spread phenomena.

Andy Wicks‘ unique lino and digital print with acrylic, Mudlarks seems uncharacteristic of other work I have seen by him, more figurative perhaps in that there are figures in a ‘land’scape, though there is a marine connection as there are with other of his paintings.

Andy Wicks, Mudlarks, 2012, Unique lino and digital print on paper with acrylic paint (edition of 70 with hand painted colour varations)13 x 19 cmImage by courtesy of the artist

Andy Wicks, Mudlarks, 2012, Unique lino and digital print on paper with acrylic paint (edition of 70 with hand painted colour variations)
13 x 19 cm
Image by courtesy of the artist

The lino cut here, taken from a Victorian etching, shows boys ‘mudlarking’ on the banks of the River Thames, superimposed on a WW2 propaganda image of the Royal air force flying over a naval convoy, boys and their toys, so there is this interesting layering of references and time periods, brought up to date by the adding of Wellington boots to the figures. Seeing is a complex process, triggering imagination, memories and associations. This complex little print highlights for me what might be ‘seen’ in our mind’s eye when we view an image, reminding me of how, at a more general level, we construct meaning through the processes of framing, layering and juxtaposition.

Complex also, but in a different way is Katrina Blannin’s beautiful, systems based, gouache on paper. I am interested in the multiple ways of reading it, negative spaces shifting to positive shapes, and back again, only now it’s a different negative space I am seeing. However hard-edged, or high in clarity the image might be, ambiguities abound. Do we say that something is “deceptively simple” when at first sight it communicates simplicity and matter-of-factness whilst on continued viewing it turns out to be thoroughly nuanced?

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Then I start to wonder about how the colours were achieved: to what degree were they mixed prior to being placed, or how much is the result of physical layering on the paper? Then again, how much of the mixing is taking place on my retina? And I note that a painting can be a lot about colour without necessarily being highly coloured.

First Come First Served is on at The Lion and Lamb Gallery until 11 January 2013, all the works are for sale.

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