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Tag Archives: Nadège Mériau

Mapping the Collection

29 Dec

The Linear B exhibition at the Stephen Lawrence Gallery has been curated and created around the principle that each artist’s exhibited work takes inspiration from an artwork in the collection of the late artist Nikos Alexiou.  What emerges are a whole series of other connections that can be seen in the work to other artists, as each individual forms a dot on an interconnected spider diagram across which you could trace connections similar to the idea of the six degrees of separation through which you should be able to link to anyone on the planet through someone you know knowing someone that knows someone, etc.  I wonder how many steps would be statistically necessary to link two seemingly unconnected artists.  Much as Mafalda Santos in her installation Cross Reference (2011) at The Mews Project Space has drawn out her social network across the walls and ceiling of the gallery leaving a remnant of chalk dust on the ground like the fallout from broken friendships. Occasional lines that were probably accidentally drawn at the wrong angle due to not having a long enough ruler peter off half way like a relationship that has not yet been made or has been cut off, the blue chalk slightly rubbed away as the memory fades.

Cross Reference (2011) (detail) by Mafalda Santos at The Mews Project Space

Plans for a New Mausoleum at Halicarnassus (detail) (2011) by Jonas Ranson, silkscreen print on paper.

In Linear B Jonas Ranson’s Plans for a New Mausoleum at Halicarnassus (2011) is made in response to Vassili Balatsos’ perspective drawing of, or design for, a modern minimal building, clad in industrial metal strips and with a balcony on the upper floor, made with strips of primary coloured tapes.  However whilst Ranson picks up using parallel lines in a mixture of primary colours, this large print also seems to heavily reference Pierre Cordier’s Chemigrams featured in the V&A‘s Shadow Catchers: Camera-less Photography exhibition last winter.  Cordier created a photographic technique he called Chemigram, painting materials such as nail vanish and oil onto photosensitive paper prior to exposure and developing.  The traces left from painting, as in Chemigram 30/12/81 I (1981), leave a perfect series of parallel lines created by the brush stroke, an abstract composition which could perhaps depict cornfields with neatly arranged rows of crops.  These marks are much like the parallel lines in Plans for a New Mausoleum at Halicarnassus (2011), which appear to describe buildings, roads, paths, corridors or electrical circuit diagrams, that map a building, campus, development or city, just as Balatsos’ drawing maps a building and records the parallel vertical lines of its cladding.

Chemigram 30/12/81 I by Pierre Cordier

In turn it feels like Cordier’s work could have influenced some of Bernard Frize‘s abstract paintings.  Whilst Ranson has produced a print and Cordier has worked with photography albeit in a painterly fashion, Frieze frequently paints bold, sweeping, continuous lines, which similarly retain the marks of a wide brush.

Meanwhile Cordier’s Chemigram 7/5/82 II “Pauli Kleei ad Marginem” (1982) has been linked to referencing Paul Klee‘s Ad Marginem (1930), which seems to depict the sun surrounded on all sides by birds, flowers and abstract figures, who could be worshipping it.  However, due to its triangular centre this reminds more of the classic album cover for Pink Floyd’s The Dark Side Of The Moon by Hipgnosis and George Hardie (1973), with some edges perhaps bitten by snakes ala the computer game, whilst the curve cornered straight forms reflect upon the shape of the extending character.

Chemigram 7/5/82 II "Pauli Kleei ad Marginem" by Pierre Cordier

Across these three media we find aesthetics that function similarly across these art forms, with both linear order, aligned with architecture and planning regulations, and the unpredictability of human interaction and nature.

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The World in Miniature

5 Jul

Unit (2011) by Poppy Bisdee

Poppy Bisdee‘s Unit (2011) was one of the highlights of the Wimbledon College of Art BA show.  In this work she photographed the exhibition space on all sides including the floor, without a trace of the photographic means.  This includes the building supplies that are left on show in the exhibition spaces here, with the power sockets becoming a particular focal point in this piece, like Bradley Hayman‘s work Tunnel Vision at the Sassoon Gallery in 2009 featured the furniture and fire extinguisher as in the space when originally viewed.

Tunnel Vision (still) (2009) by Bradley Hayman

Bisdee has then printed her photographs on acetate and reconstructed a miniature version of the room except for the wall farthest from where it is projected back onto using an overhead projector, creating a three-dimensional effect of being inside the room, whilst being drawn to consider the relationship between the projected sockets and the real one which is projected onto.  Bisdee has turned simplicity into beauty.  From a simple and minimal photographic act, she has created an interesting three-dimensional piece both within the acetate form and within the spatial installation.

Summer Holiday Dreams (2011) by Haruka Ono

 Meanwhile at the Slade MFA show Haruka Ono created a miniature world from an entirely different medium, frozen food.  Summer Holiday Dreams is a three-dimensional tropical landscape made up of battered fish and chicken nuggets whilst green beans form greenery protruding from the ground or hanging as palm leaves from trees.  This is a curious dialectic work, depicting a tropical place in frozen food, which is contained in a modified commercial chest freezer with a glass top.  Miniature toad in the holes form small boats floating on a sea of blue ice cream (pistachio perhaps) as a wave breaks towards them in cream or vanilla ice cream.  It seems this work critiques the food it uses as a medium perhaps for its healthiness but more so for its environmental impact, using electricity likely generated by burning fossil fuels to preserve it, and its absent packaging clogging landfill, whilst the freezer, likely reclaimed from scrap, contains CFC gases.  This work also shows the childlike playfulness of Fischli and Weiss’ The Sausage Photographs (1979), reflecting art and creativity as skills we are born with, but which most repress as they grow older.

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