islands: coleman project space

islands’ brings together the works of artist and curator richard ducker and collaborators ruth gibson and bruno martelli.
 [from the press release]

the title, with its implications of being at once static and afloat, provides a suitably myth-laden motif for the notion of technological shift that is central to each enquiry. analogue and digital sensibilities are brought together in the creation of spectacle-savvy, visually seductive environments for coleman projects’ gallery and shed spaces.

in situ, ducker’s vel­vety mod­er­nesque objects evoke both lit­er­ary and filmic inves­ti­ga­tions into sci­ence fic­tion, and the retro aes­thet­ics asso­ci­at­ed with envi­sion­ing the future. gibson/martelli’s mul­ti-media man­i­fes­ta­tions of epic polar jour­neys, mean­while, are rich with ref­er­ences to the hero­ic exploits of icon­ic explor­ers and art his­tor­i­cal rep­re­sen­ta­tions of the nat­ur­al world.


image001.jpgduck­er’s firm­ly ana­logue, entire­ly sta­t­ic and unashamed­ly syn­thet­ic pre­sen­ta­tion of ‘dark mat­ter flow­ers’ (2014) brings to mind com­put­er-based means of recre­at­ing action: from the motion pic­ture green­screen to the eerie avatar land­scapes of gam­ing zones. his high­ly desir­able objects appear to have been made with mul­ti­ple dimen­sions in mind, whether the flat sur­face-world of the motif, that of vir­tu­al post-pro­duc­tion or the phys­i­cal­ly nego­tiable object realm.

image002.jpg gibson/martelli, on the oth­er hand, work with the tech­nolo­gies and for­mal devices of video gam­ing to explore ideas of the sub­lime. their appli­ca­tion of the gam­ing ver­nac­u­lar speaks of our con­tem­po­rary pre­oc­cu­pa­tion with screen-based and inter­ac­tive tech­nolo­gies in the search for mean­ing and medi­at­ed expe­ri­ence. here they present two new works based on a res­i­den­cy in the arc­tic cir­cle: ‘white island (2014) and per­fect cir­cle (2013), which sit in the divide between the real and the imag­ined. these beau­ti­ful, yet wry­ly inter­ac­tive polar vis­tas bring to light the chang­ing ways and means of expe­ri­enc­ing a place.

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