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London

Core Gallery

Exhibition Detail
If You Don’t Like the Road You Are Walking, Start Paving Another One
Core Gallery Part of Cor Blimey Arts Co-Operative
C101 Faircharm Trading Estate, Creekside, Deptford
London SE8 3DX
United Kingdom


June 25th, 2010 - July 3rd, 2010
Opening: 
June 24th, 2010 6:00 PM - 9:00 PM
 
,
> QUICK FACTS
WEBSITE:  
http://www.coregallery.co.uk
NEIGHBORHOOD:  
Other (outside main areas)
EMAIL:  
chantelle_may@hotmail.co.uk
OPEN HOURS:  
Open Saturdays and Sundays only 11-5pm or by appointment
SCHOOL ASSOCIATION:  
Central Saint Martins College of Art & Design
TAGS:  
conceptual, performance, mixed-media, photography
> DESCRIPTION

If You Don’t Like the Road You Are

Walking, Start Paving Another One

 

25 JUNE – 3 JULY 2010

PRIVATE VIEW: 24 JUNE 6PM – 9PM

 

Deptford Last Friday: 25 June, Late Opening until 8.30pm

General Opening times: Thursday- Saturday 12-5pm or by appointment

 

1. We will make work in the gallery.

 

2. We will work with limited materials.

3. We will work under a set of rules.

4. We will break the rules.

5. We will work independently.

6. We will work together.

7. We will do no work.

 

8. We are the work.

 

Core Gallery is delighted to present an onsite collaborative experiment in collage, sculpture, photography, drawing, video and performance by four artists currently studying on the MA Fine Art at Central Saint Martins.

Artist Statements

 

Kate Janes

 

My work has been sculpture based for the past five years and has evolved through various stages incorporating large outdoor public events as well as smaller, performative pieces. The work I have chosen for this show is called ‘Hostess’ and consists of three photographs of papier mache heads on sticks which are guests at a fantasy dinner party, where I am the perfect hostess, confident, witty and the centre of attention. This is in somewhat stark contrast to reality and these images depict an afternoon where I called the shots.

 

Kim Kielhofner

 

My work is a process that examines my environment and shifts through the narratives that are woven in it. I use these narratives in my work, particularly studying the historical implications of these in how we understand stories, how we remember, and how we place ourselves within them. Part of my process is collecting the remains of my environment (flyers, discarded tickets, receipts, menus) and layering them into a book inserting drawings and notes. I am rearranging, dispersing material in a way where subjectivities can unfold. This process runs parallel to my video practice where I work with fragments of video, some that I have found from the history of cinema and some that I have taken in my environment. Similarly I bring these video fragments together. I bring them together under a narrative, but use timing, pacing, and the quality of the image itself to play off of each other to expand the space and create a layering of histories.

 

Kate Allen

 

Woven into a series of unstable historical narratives the artwork or art object undeniably exists, enduring only through reading, re-reading and re-invention. What this endurance of the artwork or art object can reveal about the nature of history is central to my practice.

 

Sarah Gilbert

 

Most of my work is inspired by real and surreal world, movies and actors, cityscapes and nature. My practice tends to render equivalent two typologies of work: painting and collage. There are ‘two sarahs’ in a way, a serious, controlled one and a crazy freer one. The minimalist landscapes painted with gloss and oil paint on aluminium or stainless steel sheets and collages, answering to the principles of minimalism, it is question of precision, conceptual coldness and the importance of the physical presence of the materials. Doing collage is more emotional, it is paying attention to details, outlining selected shapes, it is a funny meeting of oppositions, happening at the surface of things.

Furthermore, collage is obviously mostly based on the mode of reappropriation because it is choosing pre-existing forms from different sources you find singular in everyday life. However, my intention is different from entertainment or communication because it doesn’t serve for needs, I am driving my work to a dimension Heidegger calls ‘an unusual space’, a freed space, ‘clearing a space larger than the typical space’. To approach this particular space, I make an effort of presence of the work, by presence I mean density of manifestation, how to increase the presence (charisma) of the shape shown in its relation with the world (the wall and the space of exhibition, the light, the viewers). For four days I just know I am going to do collages in situ at the Core Gallery

 

For more information, please check: http://coregallerydeptford.blogspot.com Or contact: coregalleryinfo@gmail.com


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