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Art Listings CELL PROJECT SPACE The Grey Area Aya Fukami •
Alex Heim • Oliver Perkins Private
View Friday 11th December 2009- 6.30-9.00pm _
If the universe by its very definition is everything that exists anywhere then its complexity and richness would seem overwhelming as a starting point for any artist. In this exhibition 'the grey area' signifies a problem of sorting this reality and rudimentary stuff, material and experience into clearly defined categories. It draws three London based artists who differ in method and ways of working intentionally conveying a physical sense of something seen or experienced, rather than representing it. Language does not attach itself to any of the works comfortably. Intervention simplified to create works devoid of content other than the shape and colour of canvas or material it is made of. However rather than determining an aesthetic, in 'The Grey Area' artists strip away the literalness of everyday life, revealing mysteries contained in the most commonplace. Alex Heim
will present a new video, continuing his analysis of our perception of the
natural environment. By fusing seemingly unrelated recordings Heim
deconstructs the relationship between moving images and sound.'Les Chevaux
Vapeur' is a typical depiction of the rugged British rural coastline. The
camera pans across the cliffs and vast empty beaches with aerial views of
rolling waves, swathes of shingle and inky blue-black menacing water. The
film's visual incongruity is heightened by the sound track. Instead of
using the original sounds from the sea Heim inserts the sounds of urban
traffic. The swooshing sounds of passing cars line up in perfect harmony
and in sync with the rhythmical sway of the shoreline as it rolls in and
out of shot. A seamless and subtle range of motorway roar is
indistinguishable from the expectations of the visual imagery on display.
Heard in a new context, the noise of polluted roads and its
level-fluctuations go further to feed Heim's curiosity with his world
viewed at pavement level. Aya
Fukami's
arrangements draw a line between gesture and form. The representation of
low value objects replace familiar modernist gestures and shapes, each
testing it's competence to replace or dominate the other. Natural and
casual representations are made to relate to the processes of abstract
painting and sculpture without actually defining them. In The Grey Area
Fukami will present new sculptural works developed with a heightened
interest in routine stuff that so often goes unexamined. A subdued pallet
of stains, grey buffs, raw linen and familiar eroded objects are intended
as a slightly stagnant foundation on which the sculptural dialogue
unfolds. Oliver
Perkins
universe is monochromatic. Colour has been reduced to a logical conclusion
and as a result the canvas contains a sense of physicality. Furthermore it
has become an object. Perkins manipulates his stretchers to heighten the
tension of the object. The canvas, so taut, it reveals the wooden frame
underneath contorting the predictable rectangular shape of the work
itself. The façade is both an actual and a representational skin, in that
its materiality speaks about the way the stretcher is made and how the
canvas responds to it. Paint is used as a mark maker to indicate how the
work is structurally held together. It emphasizes slight differentiations
where the surface has been disrupted. The work becomes a series of reliefs
revealing more an interest in materials and process rather than more
linguistic or conceptual motivations. FULL DETAILS Cell Project Space Advertisement
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