London Trip 21/11/15 Part 1
It was a busy day that ended with an intense show at The Royal Academy last night. I’ll be dedicating a post to that show. Meanwhile I spent the day all over the capital taking in more work in the hopes of informing my own practice and to see whats going on in the wart-world (not very good at that aspect).
My first stop was a little show by Thomas Demand – Latent Forms at Spruth Magers, a gallery I’ve not visited in a long time. He is continuing to look at architects work, a previous show – Model Studies at the Nottingham Contemporary saw him photographing John Lautner’s models. Exploring the work of a fellow model maker. Turning this time to Kayzuyo Sejima and Reyue Nishizawa. Once again he is zooming in for intense close-ups of another makers models. These feel more pure, white creating soft shadows. The image create new worlds to be lost within, you can explore another’s and sharing your own perspective with the world. You can see the pieces here.
Next up I was a little bit let down initially if I’m honest at Blain Southern, coming for one artist – Bill Viola who is experimenting with media. I think I was expecting more than what I found. The piece Moving Stillness (Mt. Rainier), (1979). I wanted more than the one piece. I couldn’t sit for long with the piece, thinking it would change from the mountain. When the invigilator placed her hand in the water (not that I knew water was there, it had a massive effect on the piece, it became distorted. I could see that the image was projected down into the water in a three colour projection. You could see that a DLP could just as easily achieve this effect. However that would change the piece completely, removing it from its time and place in Viola’s practice. The effect that’s achieved is haunting and mesmerizing at the same time. However cumbersome it may look. Sometimes the simplest effects are the most powerful.
Moving downstairs I found an artist I didn’t come to see but got far more out of from Kishio Suga with another old piece Perimeter (1985) which looks at boundaries which we create. Here is both physical in the space and mentally. We look from one angle and we’re trapped, unable to move away from it. Another and we can escape. It’s an illusion that ever more real that we could find in the open landscape. In terms of my practice its the illusion it creates at this scale that excites me.