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