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closer to something

closer to something

21.10.11- 17.12.11

Nick Abrahams, Isha Bohling, Lisa Byrne, Antony Cairns, Kalev Erikson
Walter Hugo, Natalia Skobeeva, Eva Stenram, Geraldine Swayne

An exhibition that celebrates chance and the accidental.  The ‘something’ so often missing in a technological landscape where mistakes and imperfections can be easily altered or corrected.

The work includes large format pinhole photography, appropriated images, antiquarian print processes, sound installations and home processed Super 8 film.

Nick Abrahams: 'vid spilum endalaust'
Whilst touring with Icelandic band Sigur Ros, Nick Abrahams collected detritus including discarded cigarettes, stones from the ruins of a Mayan temple and volcanic ash, which he added to the chemicals used to develop Super 8 film. The resulting film with its hand developed aesthetic is not at all like a traditional documentary.  It offers a personal and intimate peek into what it is like to be on tour, slipping between dream and reality, floating from place to place. The film’s title translates as 'we play endlessly'.

Isha Bohling: ‘Moonlight’ and ‘Magnetic Dust’
Isha Bohling’s work reveals or re-imagines untold narratives, recovering past resonances, whilst searching for structures, histories and underlying patterns. Outdated everyday objects are transformed into musical instruments and surfaces to project upon, often forming a feedback loop in which the object becomes the instrument that both contains and generates the sound work. It becomes a process of excavation manifested through drawing with
objects, sound, video, painting, music and songs that the artist writes and performs.  www.ishabohling.com

Lisa Byrne: ‘Simultaneous Perspectives’
Reminiscent of Edward Muybridge’s scientific photographs of men, women and animals in motion, Lisa Byrne’s work has an initial experimental feel to it. The photographic results of three pinhole cameras shooting simultaneously over 15 minutes trace the image of bodies through time. Pin-pointing the positions of two figures at different instants, the photographs read like a mathematical graph. However, rather than producing measurable results, the information is obscured as opposed to being revealed.

Antony Cairns: ‘Kingsland Road, Dalston’
After viewing a 1930's panorama of the Ligowzski Prospect in St Petersburg by an unknown Russian photographer, Antony Cairns decided to do the same thing on the street where he lives, Kingsland Road, Dalston. Following the same technique as the Russian photographer, the images were shot on 5x4 black and white film, printed on fibre based photographic paper and then cut and pasted onto concertinaed board.


Kalev Erikson: ‘More Cooning with Cooners’
The found images in More Cooning with Cooners have been edited from a family collection of Kodachromes taken during the 1960’s in Ohio, USA.  They recount events from various racooning adventures and are the work of a single, but unknown, photographer with a clear enthusiasm for the hunt.

Walter Hugo
Walter Hugo’s unique portraits celebrate his peers from the world of art, fashion, film and music. By resurrecting long-forgotten 19th century studio techniques he invigorates the traditional portrait with unpredictable results.

Natalia Skobeeva: ‘Revealing’
Natalia Skobeeva's work tackles the themes of identity and belonging. She explores the psychology of perception and identifying, and pathways of forming unique or anodyne seeing. Revealing is an on-going project of large-scale cyanotype portraits of Londoners. Each portrait is divided into stages, revealing the person behind their clothes. Viewers are invited to wander along, making acquaintances with the sitter.

Eva Stenram: ‘Per Pulverem Ad Astra’
For Per Pulverem Ad Astra, Eva Stenram made negatives from NASA’s digital images of Mars and let these gather dust in her apartment before printing them. The resulting marked image is a combination of extreme distance and proximity, a simultaneous gravitational pull towards the earth, to the dust around – and by extension, towards death – and a pull upwards, into space, away from the earth, towards the attraction, both physical and fantastical, of Mars. Inspired by a fascination for images from and of space, surrealist photography (in particular Man Ray’s portfolio Electricité), and experiments in ‘thoughtography’ (attempts, originating in the late nineteenth century, to photograph mental images, which often appear as blurs and visual ‘static’), the series also invites debate around ownership, copyright, national borders and colonisation.

Geraldine Swayne: ‘A spell for Rudolf Sosner’
Geraldine is a London-based painter, musician, and filmmaker. During 1991 to 2005 she was a pioneer special effects designer, working at Computer Film Company in London and Los Angeles. In 1999, she made the world’s first super-8 to Imax film East End, narrated by Miriam Margolyes, with music by Nick Cave which has been screened at festivals worldwide. She currently tours and performs with seminal ‘Krautrock’ group Faust.
A Spell for Rudlof Sosner is a collaboration with Jean-Herve Peron and performance artist Rachel Tyrell, shot mostly on Super 8 film in Derek Jarman’s Dungeoness garden with the support of his partner HD.