Bridget Riley‘s Composition with Circles 7 (2010), installed at the National Gallery, London, makes use of circles in a similar manner to Susan Hiller‘s Magic Lantern discussed in my previous article ’Curated to Confuse?‘. Riley and her assistants have drawn a series of meticulously accurate, large, monochromatic circles across the entirety of a vast gallery wall. Like Hiller’s projection, they build up layers, overlapping and forming a series of Venn diagrams. However, where Hiller explores colour, Riley explores ways of tesselating the circles, creating a vast array of different size and shape sections of overlap and space, whilst maintaining a fairly ordered overall plane.
Adrian Searle furthers the link between the two by saying this work of Riley’s ”… seems to envelop you as if one were consumed by bubbles of light.” (http://www.guardian.co.uk/artanddesign/video/2010/dec/15/bridget-riley-national-gallery-wall-circles). However this work feels much more rigid and defined than flowing light.
This is an installation of drawing which looms over the viewer, affecting our perception of space. It also physically alters the gallery walls in a museum that, due to its collection, usually retains works within a frame. Hence it is an intervention in the space, much like Doris Salcedo‘s Shibboleth (2007), a crack in the floor of Tate Modern‘s Turbine Hall.
Besides this piece, it is a small exhibition and predominantly represent’s Riley’s current work, not necessarily her most interesting. On the other hand it is interesting to see how her modern abstract style has been inspired by some more traditional sources. A couple of Riley’s older Op Art style works are included, and these create the optical illusion of three dimensionality. The exhibition Common Logic at IMT Gallery, however, exhibits a series of experiments which take drawing literally into three-dimensional space.
Simon Starling’s exhibition at Camden Arts Centre is one of a curatorial nature, yet is diverse and unpredictable. The theme behind the exhibition is to bring together work exhibited over the gallery’s thirty year history. Modernist chairs sit on plinths alongside a Francis Bacon and Graham Gussin’s Fall (7200–1) (1998), which combines a computer randomly generating a continual stream of zeros it appears that apparently affect the footage of a waterside location projected opposite. In the next room Jacques Monory’s 1973 painting of a picnic labeled as including Christian Boltanski and himself taken from a 1970 photograph. Opposite this is Christian Boltanski‘s 1971 photograph Essai de Reconstitution d’un tableau de Jacques Monory, a photograph recreating the gathering depicted in the original image.
An exhibition of Susan Hiller‘s work opens shortly at Tate Britain but her 1987 slide projection entitled Magic Lantern is currently on display within this exhibition at Camden Arts Centre. Not being a familiar artist, however, it appears Hiller has worked in many media and I await the forthcoming exhibition to gain more insight into her practice. Magic Lantern, is a little slow showing just 12 slides from each of the three slide projects over a 13 minute show. However the slides are combined with an audio track based on the sound experiments of a Dr Raudive. This is a mixture of relaxing female voices chanting, as might perhaps be heard in a mosque, with messages with background noise that sound like old wireless recordings, which builds with the slide projection to create a trance like or hypnotic sensation.
The slides themselves are very simple, each one contains a circle of pure colour, almost entirely the three primary colours. However Hiller’s combination of these creates a multicoloured light show. The three coloured circles are blended into one another in a kind of Venn diagram, faded in at constantly varying levels of intensity, hence blending coloured light like blending hues of pigment. In essence you could relate it to the scientific experiments with light; A level physics experiments with lasers and diffraction gratings spring to mind although that isn’t what this is. Dust and hairs collecting on the slides add to the work, giving it grain and texture that appears to protrude from the projection wall and further draw you into the hypnotic depth of the colour.