+44(0)20 8533 7258

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8 – 11th March 2013

Private view 7th March 6 – 9pm

Gallery open 12 – 6pm daily


“If confusion is a sign of the times, I see at the root of this confusion a rupture between things and words, between things and the ideas and signs that are their representation.”

Antonin Artaud


rupture brings together six artists whose varying practices reveal distinctive approaches to materials, objects and representations. Using diverse strategies, the work navigates the fluctuating boundaries between objects, symbols and classifications.


Berlin based artist Tina Ribarits uses a variety of media including photography, projection, audio, wooden boards and paint to create site-specific installation objects. References to the "gothic", the early Hollywood "Suspense" genre or Victorian literature are adopted and eventually disassembled, leaving only fragments of the latter, intuitively pieced together. 


Through an intuitive response to architecture and cinematic imagery Caroline Tobin attempts to explore the ways in which we relate to imagery both as a singular representative object and as a pervasive repetitive form in decorated wallpapers, embellished textiles and ornamental interiors. Using traditional materials and processes such as print-making, clay sculpture and craft or hobby image-making processes she sets in motion a reductive process whereby traces of the original are lost.


The use of the everyday, an element of comedy, and the suggestion of people and figuration (real or otherwise) are all aspects of Kate Parrott’s work. Pathos and humour are combined in works that look careless and are made from apparently worthless parts but that on closer inspection can offer something more.


Marianne Shorten works in oil on canvas. The paintings are invested with a liminal quality that references the cinematic inter titles and title sequences that open and explicate sequences of film. The motifs are built up over time in oil paint. Colour, tone and surface are altered and adjusted. The final effect is one of oscillation between image and object, figure and ground.


Adam Rompel takes pleasure in considering conceptually tight ideas that are easy on the eyes. The consequence of such actions is the occasional effort that he hopes you will consider worth the endeavour.


Charlotte Knox Williams’ has produced work in which different aspects interrelate in distracted, errant loops. Enunciations and visibilities interrupt, overpower and distract one another.  Drawing, film, written and spoken words are engaged together in distraction, just as the projection over the drawing forms an inherently distracted, distracting surface. There is no opportunity afforded for sustained attention to the film, as it is broken up into short segments, interfered with from beneath by the marks on the drawing and interrupted by commentary and subtitle.


RUPTURE