Grand Canyon and Wildwasser, Cafe Gallery Projects, London, 2005

 

Ripped-out photo murals, each approx. 264 cm x 192 cm

These works use the same conceptual approach as 'Highland Falls' did. They too work with given image information from the photo murals, and they also 'overlay' the photographic image with a computer-distorted version of that information, both interchangeably covering and uncovering what it is that is shown.

There are some important differences, however, that give the pieces a very different dynamic. First of all, the distorted shape itself is not a supplement, painted on top of the mural introducing an extra, painted layer, but rather it is the white space of the gallery wall itself, since the figure has been ripped out of the mural. This highlights the figure as a negative intervention into the image, while it presents at the same time that negativity as the void of the white gallery space, which is barely contained by the remains of the rectangular image-objects. The gaze, in effect, starts to oscillate between the void shape and its material border, segments of which start to become shapes in their own right floating across the wall.

The ripping-out of the shape introduces a softer, more casual border that visually integrates the shape into the photographic image as much as it materially shows what the photograph is made of as the gaze gradually moves from image to wall. The rips are marks of an energetic activity, with which the figures seem to be charged.

The figures themselves are bold and not very playful. Having had the chance of showing two pieces I used the left (Grand Canyon) to introduce the eye into the work allowing for, in particular in the bottom left corner, a direct relationship of the figure to its photographic source. The eye can follow the build-up of the figure, while it can trace the same movement (albeit bar the distortion) above on the photographic plain. Having established that relationship in 'Grand Canyon' the viewer is left in 'Wildwasser' with a much more abstract shape that relates to the photograph more atmospherically. To me this movement represents the freeing of the abstract space from its photographic source culminating in 'Wildwasser's' expanding shape that seems to roll beyond the frame and into the viewer.






Sudley Castle, 2007



Alexia Goethe Gallery, London, 2007


 Test Page by Julian S.

Michael Schwab

CV

Documents

 

News

Wieviel Wissenschaft bekommt der Kunst?
Oesterreichische Forschungsgemeinschaft, Wien

4 & 5/11/2011

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Imagining Imagination
Royal College of Art, London

10 & 11/06/2011

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Suspense - International Symposium
on Rethinking Research
Cinema Zuid, Antwerp

04/05/2011

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Modes of Collaboration between
the Arts and Sciences,
ZHdK, Zurich

29/04/2011

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Architecture + MIT 150

25-27/04/2011

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Drawing in an Expanded Field
Academie Royale des Beaux Arts
de Bruxelles

25-27/02/2011

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Habitus in Habitat III
Synesthesia and Kinaesthetics
ZfL, Berlin

22-24/10/2010

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Unexpected Variations
Orpheus Research Center in Music, Ghent

15-17/09/2010

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Please support the
Journal for Artistic Research (JAR)

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Arts Research: Publics and Purposes,
GradCam, Dublin

15-19/02/2010

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Components of the Image
Exhibition 036 at SWG3 in Glasgow

09-18/10/2009

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Sensuous Knowlege Conference 6
Bergen, Norway

23-25/09/2009

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International Walter Benjamin Association
Antwerp, Belgium

14-17/09/2009

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First, the Second:
Walter Benjamin's theory of reflection
and the question of artistic research

Journal of Visual Arts Practice (7.3)

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International Seminar 'Light Touches'
Figures of Touch Research Project
University of Art and Design, Helsinki

10-11/06/2009

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The Difference between Art
and Art Research
Züricher Hochschule der Küste

23-24/04/2009

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Creative Practice, Creative Research
York St. John University


Download my paper in the 'Documents' section.

25-17/04/2009

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The Art of Research: Research Narratives
Chelsea College of Art and Design

28-30/10/2008

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Research into Practice conference
Royal Society of Arts

31/10/2008

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/seconds issue 9
vanishing point, the vicious and virtuous circle

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Conference Contribution and Exhibition

'Figurations of Knowledge'
5th Biannual European Conference of the Society for Literature, Science, and the Arts (SLSA), Berlin

02 - 07 June 2008


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Paris

Book Launch

18 May 2008

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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab

Studio 1.1, London

11/05 - 01/06/2008

Private View:
10/05/2008 6-8pm


Artists' Talk:
25/05/2008 3.30pm

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Full Circle Family Workshops

Gasworks, London

19 - 22 February 2008

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Keynote Paper and Exhibition

'Art and Research: How?'
International Conference at the Estonian Academy of Arts, Tallinn


14/15 February 2008

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Artist Talk

'figure' at the Tramdepot Gallery, London

3 February 2008, 2pm

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Figure

The Tramdepot

Private View Friday 25 January 7 - 11 pm

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As if something once mentioned, now plain to see

Book by COLONY, Birmingham

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The Full Circle
A collaborative project by Eduardo Padilha and Michael Schwab

Huisrechts, Amsterdam

13.9 - 16.10 2007

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Political Art 2007 Almanac
Reunion Projects

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Artistic Research and the Role of Critique.

In: van Koten, H. (ed), Proceeds of Reflections on Creativity, 21 and 22 April 2006.

Dundee: Duncan of Jordanstone College, 2007. ISBN:  1 899837 56 6.