Out of Site

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Paint on Glass, 2013
Out of Site

99 Hoxton Street
London N1 6QL
United Kingdom
January 16th, 2014 - March 8th, 2014
Opening: January 15th, 2014 6:00 PM - 8:00 PM

44 020 7739 8080
Wednesday to Saturday, 12-6pm
animation, video-art


Out of Site: A co-commission with Animate Projects

Savinder Bual
Kota Ezawa
Karolina Glusiec
Margaret Salmon

PEER is currently presenting Out of Site – four new films that explore different kinds of animation techniques from stop-frame and drawing to computer graphics and photography. They have been specifically commissioned in collaboration with Animate Projects for the two former shop units that are now PEER’s exhibition spaces and for online. With its 10-metre glass façade onto the street, the gallery is distinctively outward facing and acts like a large display case or showroom. For many of the exhibitions, all of the work inside has been visible from the street and a number of artists have intentionally worked with this feature providing an opportunity for local residents to experience the work through the windows from outside, as well as enticing these visitors to enter the gallery.

Out of Site takes this one step further because on this occasion the films are projected from the inside out onto the four glass shop windows. Taking advantage of the long winter nights, this is the first time that PEER has presented work to be seen exclusively from the street with projections during the late afternoons and into the evening. In this way, Out of Site provides visitors and passers-by with the opportunity for a more unplanned or unpremeditated encounter with art – something to be viewed as part of the common experience of daily life.

Savinder Bual looks at the illusory qualities inherent in the cinematic. Taking the earliest flickbooks as her starting point, Bual uses the image of a single bird wing on each page of a notebook and a hand held fan to move and activate the image. Developing ideas found within her practice of using lo-fi and everyday objects to create movement, in Wing, Bual highlights the tension between the materiality and tangibility of a book and the relative immateriality and intangibility of video.

Kota Ezawa re-presents moments from the media, popular culture, and the history of photography in animated videos, slide projections, lightboxes, and prints. For Out of Site, he has recreated portions of Hans Namuth’s 1950 film Jackson Pollock 51, which shows the artist painting on a pane of glass installed between Pollock and the camera lens. This animation draws our attention to the specificity of the PEER windows as a barrier between the inner and outer space of the gallery and the street.

Using the traditional materials and methods of drawing, Karolina Głusiec pays homage to the early days of filmmaking and the photographic experiments produced by Étienne-Jules Marey. Through a process of sketching and erasure, Głusiec’s film explores the idea of disappearance through both forgotten memory and the repetitive movements of the microscopic. Głusiec interrogates the contemporary, networked nature of images that are “surrounding us, circulating, duplicating, being manipulated and used many times until the image disappears forever.”

In Housework, Margaret Salmon captures the uncanny, beautiful and at times hysterical moments in an alternative domestic cosmos. Highlighting the current state of female domestic roles as well as the status of women in larger society and referencing techniques from screen classics such as Hans Richter’s Ghosts Before Breakfast, Mary Poppins and the American television show Bewitched, Salmon’s film portrays daily household chores being completed by themselves, without human interaction, as supernatural phenomenon.

 The works can also be viewed online at