Light — Part II
Light II is the second installment of a two-part group show organised around the theme of light, and the thresholds and passages between light and dark, both actual and metaphorical.
American artist Abner Preis will perform LIGHT during the opening of the exhibition, encouraging visitors to write down and display the name of the person who most means 'light' to them. Stored and displayed in a bottle in the gallery, the piece encapsulates the love and hope floating among and between us.
Light II is curated by Gabriel Rolt, of Galerie Gabriel Rolt in Amsterdam and Nick Hackworth, of Paradise Row in London and brings together a highly varied range of works and themes.
Terence Koh's neon declaration of Love for Eternity both describes and embodies emotion: not only the elation of love, but also its searing intensity.
Conrad Shawcross'sSlow Arc V was inspired by the scientist Dorothy Hodgkin and her description of what it was like to work out the structure of pig insulin. She compared this process to trying to work out the structure of a tree from seeing only its shadow. Slow Arc V - the first in this series - includes a small but brilliant halogen light on the end of an articulated arm, which travels diagonally from one corner of a rhombic mesh cube to its opposite side, accelerating and decelerating to each corner.
Adam Broomberg & Oliver Chanarin present a body of work by Dora Fobert (1925-1943) taken in June 1942. It is a beautiful and haunting series of female nudes. The images have not been properly fixed and are unstable under natural light, needing to be displayed behind red glass. As such, the works themselves are a delicate and beautiful metaphor for the transience of human life.
A new photographic work by Reza Aramesh jars East and West together, positioning the postures of oppression from the late 20th century within the context of high-cultural legacy of the Enlightenment.
Similarly, Jake and Dinos Chapman attack those same Enlightenment spawned delusions of cultural progress, while the drawings of Wayne Horse take a sardonic tone exercise a sharp social criticism of society.
In her portraits of female film stars Dawn Mellor radically transports the depicted heroines away from the objectifying gaze of cinematic light and re-contextualizes them within the imaginative space of her own alter-egos. Taking the part of actors playing the part, Mellor's portraits speak about celebrity culture, media obsession and a female 'role' within this.
Gino Saccone's work maintains a constant awareness of the interaction between light and space. At Light II he will exhibit a new installation combining textiles with geometric wall hangings.
The work of Peter Schuyff alsouses light to explore two- and three-dimensionality. A dominant grid structure dominates Schuyff's paintings from the 1980s, which initially appear reliable and logical then prove to be deceptive creating visual irritations as shade and hue begin to merge and blur.