CERITH WYN EVANS

Posted on 2015-09-21

Wyn Evans’ works exist and take form through the reflection on and interrogation of the world about us, adopting what Martin Prinzhorn has identified as strategies of ‘superimposition and contradiction, by concealing and revealing’, to create moments of rupture within existing structures of communication whether visual, audio or conceptual. For this exhibition, he has focused on ideas around the flows of energy via material and immaterial conduits, circuitry and choreology – the practice of translating movement into notational form. Working with the architecture of South Gallery II, Wyn Evans has produced a group of sculptures that question our notions of reality and cognition, perception and subjectivity, forming an exhibition as experiment, with recourse to scores, maps, intervals and diagrams.

Three neon works which are suspended from the ceiling take their form from the codified and precise movements of Japanese Noh theatre (Neon forms [after Noh I, II and III], all 2015). Relating closely to the artist’s earlier sculptures which translated diagrammatic flight paths into neon, these new works present a maze of complex lines that trace the trajectory of alignments, gestures, folds, orientations and footsteps; transposing and transforming energies into both material charge and visual form.

Exhibition runs through to November 15th, 2015

White Cube Bermondsey
144 – 152 Bermondsey Street
London
SE1 3TQ

whitecube.com

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MATTHEW BRANDT – PICTURES FROM WAI’ANAE

Posted on 2015-09-21

The show marks the debut of a new series on the Hawaiian landscape that furthers Brandt’s formal and material consideration of the natural world.

For the past three years I have been taking photographs in Oahu. These printed photographs were rolled in dirt, leaves, burlap and lace and buried on a family farm in the town of Wai’anae. Over time, the elements of the Hawaiian earth changed these pictures. Presented in this exhibition are remains of this process.

This new body of work extends Brandt’s interest in the meeting between the photographic subject and its material self, as first explored in his Lakes and Reservoirs series. Pressing beyond the pictorial depiction of the dense tropical rainforest, the images also bear the imprint of the actual site. In mixing with the soil, the picture surface erodes-areas are stripped of layers of emulsion, and new patterns are superimposed from the materials used to bury the prints.

Accompanying these works is a suite of watercolor palm tree prints. These new small-scale prints recall vintage travel postcards and focus on the singular image of the palm tree, that ubiquitous signifier of tropical paradise. Brandt repeats the motif in different iterations as a way to explore how color is presented through various photographic technologies. Working with the positive image and its negative inverse, each pair of hand-watercolored prints is processed through multiple methods, including silver gelatin and chromogenic printing.

Opposite – Wai’anae 92601, 2015

Exhibition runs through to October 31st, 2015

M+B
612 North Almont Drive
Los Angeles
California
90069

www.mbart.com

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