BEGIN:VCALENDAR VERSION:2.0 PRODID:icalendar-ruby CALSCALE:GREGORIAN BEGIN:VEVENT DTSTAMP:20170523T232225Z UID:22392 DTSTART:20080704T000000 DTEND:20080829T000000 DESCRIPTION:
Caroline Achaintre\, Nick Crowe\, Dan Hays\, Woodrow
Kernohan\, Brighid Lowe\, Caroline McCarthy\, Johannes Maier\, Suzanne Moo
ney\, Abigail Reynolds\, Dan Shipsides\, Jeffrey Ty-Lee
Images are built out of complex processes of engagement and use\, made par ticularly visible through the impact of new technologies as they change att itudes towards surveillance\, information gathering\, pornography\, celebri ty and so on. This exhibition examines the systems that affect such change. The artists taking part can be compared to the embedded news reporter\, in that they are working from within the processes of image manufacture. From this position\, the work exhibited is able to provide revelatory and expan sive commentary on the structures that bring images into being.
This exposure of process is often in a different medium to that being exami ned. Typically\, the intangible nature of digital and virtual space is expl ored through plastic\, tangible methods such as installation and montage. I n the work of Nick Crowe\, for example\, glass becomes a plane of convergen ce between disparate fields in digital space. In his Aer Lingus series\, gl amorised portraits of airhostesses are combined in glass with unsolicited e mail from contact agencies. In a new work for the exhibition\, Nick Crowe u tilises the interface provided by the gallery window\, acknowledging its ma teriality while offering\, via a website address\, an additional engagement with a virtual scene.
Brighid Lowes response to the structures found within systems of exchange is physically manifested in Each Long Seco nd\, which presents a model of aimless interconnectivity. Abigail Reynolds likewise utilises material processes to unlock information systems. In The Grand Mutator\, a number-based crochet pattern is put through a series of m athematical sequences\, based on genome sequencing\, each producing a varia nt form. Physicality is fundamental to the working process of Dan Shipsides \, which uses the climbers experience of the rock face to explore visual co nstructs. He collaborates with John McNamee\, a visually impaired climber\, in Dolerite / Solarized Pigmatosis 2\, where tangible and visible merge as cameras attached to the climbers fingers seek their way across the rocks s urface .
Woodrow Kernohan\, in Four Four\, plays with variation between materiality and image\, drilling his way out of screen-based repre sentation. Caroline McCarthy cuts holes from coloured bin bags using the re sulting dots to painstakingly reconstruct a traditional still life in the m anner of mass printing. Caroline Achaintres carpets lend a chunky substanti ality to the digital grid\, but in the watercolours that inform them the st ructure of the downloaded image is dissolved.
Presentational str uctures applied to the Internet image: the distortions caused\, the selecti vity of the search engine\, inform the painting of Dan Hays. His internet j ourney has taken him to Colorado\, to pixellated landscapes he will never o therwise see. Jeffrey Ty Lee is concerned with the hidden architecture of r epresentation and investigates the picture plane for clues to the image it holds. For Make Love to the Camera Suzanne Mooney photographs diagrams from a manual on glamour photography\, providing a record of image manufacture that critically examines the structures behind the final product. Meanwhile \, an anatomy of news-based imagery is revealed through the films of Johann es Maier. His research into the embedded reporter interrogates the relation ship between producer and image. It is territory which all of the works neg otiate in examining the mechanics of image production from the inside.
Embedded is curated by David Waterworth\, who lectures at The Univer sity of Greenwich\, where he is curator of the Stephen Lawrence Gallery. He curated Wandering Rocks for Gimpel Fils Gallery in 2006.