25th June -10th July 2011
Preview: Friday 24th June, 6.30-9.00pm , South London Last Friday.
Artists and Scientists:
Anna Cocciadiferro, Balint Bolygo, Bobby Antonio,
Edward Johns, Daniel Jones, Caroline Lambard,
Hugh Metcalf, Elizabeth Murton, Paula Salischiker,
Liliana Sanchez and Kaidy Stautz
Curated by Elizabeth Murton
‘The theory of everything implies all things are linked in some way and one expression of this could be found in patterns.’
This exhibition brings together artists and scientists who work in different media and in different fields: sound, installation, photography, sculpture, video and scientific research to explore the theory of everything.
More information on the blog: http://atheoryofeverything.tumblr.com/
Events:‘Discussing a Theory of Everything’
Wednesday 6th July 2011, 6.30-8.30pm
A salon event with guest speakers from the arts and sciences providing an exciting opportunity to develop ideas through
discussion. Please email to book. Salon@coregallery.co.uk
Curators & Artists Talk Saturday 2nd July at 1pm
42 artists collaborate in pairs for Relay at artist-led space Core Gallery
Exhibition Dates: 27th November-18th December
Relay Private View: 26th November 6.30-9pm
Cor Blimey Arts Open Studios 4th-5th December
Private View: Friday 3rd December, 6.30-9pm
Open Saturdays and Sundays only 11-5pm or by appointmentwww.coregallery.co.uk
Cor Blimey Artists slip on their curating shoes as they each select one guest artist to
partner with for Relay. The ensuing dialogue between work bounces within Relay as each 'pair' of artists exhibit side by side. From these collaborations, unexpected associations venture out and connect across the whole of the show. The exhibition shall explore a range of themes and trends that proliferate in contemporary art today. This range will cover the distance of subtle similarities and narratives passing between works to contrasts in themes and aesthetics. All finding expression and relevance through the vitality of a shared connection in thought.
Relay will present a variety of artworks; painting, drawing, photography, performance, printmaking, installation and ceramics by established and emerging artists from the UK and around the world.
Studio Artists on the left , invited artists on the right:
Gillian Best Powell selects Jonathan Huxley
Arnold Borgerth selects Silvia Battista
Jane Boyer selects Annabel Tilley
Eleanor Bowen selects Miray Mehmet
Rosalind Davis selects Graham Crowley
Josie Dick selects Denise Hawrysio
Kasia Fijalkowskaa selects Tim Giles
Kelda Hole selects Melike Sen
Pierre Gerard selects Claire Astruc
Enver Gursev selects Antonio Pauciulo
Sarah Hervey selects Clare Stanhope
Neil Kelly selects Vanessa Smith
Ling-Ting Kao selects Alberto Torres
Stuart Kelly selects Tam Joseph
Geoff Litherland selects Chris Wraith
Elizabeth Murton selects Jenny Weiner
Rebekah Narewski selects Sandy Brown
Mo Negm selects Hannah Hopkin
Edd Pearmanselects Ceal Warnants
Zoe Powell selects Mehtab Birgun
Deidre Ruane selects Stella Harding
for more information please see www.coregallery.co.uk/relay/ LATEST NEWS:
Core Gallery Open studios. Part of the GIFTED Weekend
Cor Blimey Studios , Artists Talks. Free!
Core Gallery/ Cor Blimey Arts, C101 Faircharm Trading Estate, 8-12 Creekside, Deptford, London SE8 3DXwww.coregallery.co.uk
2-3pm Becoming Part of Something
Rosalind Davis, Mixed Media Artist&Writer
Rosalind Dais is a mixed media painter, freelance lecturer, award winning blogger and Core Gallery Manager. She will discuss all of these roles: her paintings and career through from textiles to fine art, blogging and becoming nominated to AIR to represent artists across the UK.
3-4pm Talking Photography
Arnold Borgerth, Photographerwww.arnoldborgerth.com
Come along and follow a step by step guide through the development of my career as an artist, academic and commercial photographer. Experience photography as a language, and hear about my take on how to move from taking pictures into making them
4-5pm Enver Gursevwww.emporiumofwonder.co.uk
"Celebrated Artist Enver Gursev of 'Core Gallery' fame would be delighted if you joined him for an afternoon of discussion. He will be talking about Art as a lifestyle, concept development, the delicate skill of 'seeing' and how to mix a damned fine cocktail."
Sunday 5th December
2pm "What the hell am I doing here?!"
Neil Kelly, Mixed Media Artist www.neilkellyart.com
Neil will be talking about how his life experiences have shaped and informed his practice showing examples of the above. As a mixed media artist Neil works with just about anything he can get his hands on ….
3pm “ Process and Progress ”
Elizabeth Murton, Artistwww.elizabethmurton.co.uk
Elizabeth Murton practice explores a curiosity for woven forms, mark making and using unusual materials (such as 1400 tin cans!) to explore ideas of chaos, movement and order. Elizabeth will talk about her work in the current show Relay, her artist selection and commissions for the Crafts Council Deptford X 2010.Cor Blimey Arts Open Studios 3rd,4th and 5th December
Private View: Friday 3rd December, 6.30-9pm
Open Saturdays and Sundays only 11-5pm or by appointmentwww.coregallery.co.uk
Explore the Cor Blimey working studios where 20 artists will be selling their artworks. The work includes painting, prints, ceramics and photography all of which are contemporary and distinctive.
We shall also have a pop up shop selling collectable stocking fillers from as little as £5. Come join us for mulled wine and see people’s ‘ favourite open studios in Deptford’Core Gallery Engine ChatChat
Art feedback session on Saturday- Talk about your work with fellow artists, a couple of places still left to be involved, contact us email@example.comAIR Activist Event
Core Gallery, Deptford, London, 6.30-8.00pm, 8 December 2010
Action versus Ambivalence
With over 15,000 members, AIR: Artists Interaction and Representation is now the largest ever UK-based membership body for visual artists.
AIR Activists are a small band of active members from AIR recruited to spearhead the AIR Activists network. They proactively contribute to raising the profile and widening recognition of the value of artists through a programme of events, salons, briefings and training.
This discussion will focus on Action versus Ambivalence. In an age of austerity, there is a growing need for artists to challenge their assumed position in society. Why are artists so often placed at the bottom of cultural decision-making hierarchies? How can artists become more engaged with the issues that affect them? Is the biggest threat to artists' livelihoods their own passivity?
Speakers: The event will be facilitated by artist and AIR Activist Katriona Beales and AIR online editor Jack Hutchinson. This is an opportunity for all artists to air their views, concerns and opinions through hands-on participation and debate.
Bookings: This is a free event open to both members and non-members of AIR. Places are limited and booking is essential. Contact firstname.lastname@example.org with ACTIVISTS in the title. We will email back to confirm you are on the guest list and give you detailed directions and preparatory material.
For more information please see www.a-n.co.uk/air/article/836892/469392 PAST EXHIBITIONS:
Private View: 5 November 6.30 - 9pm, 6-20 November
Curated by Nick Kaplony
Artists & Curators in dialogue 20 November 3pm
Claire Haddon, Peter Jones, Nick Kaplony, Sean Langton, Debbie Lawson, Sophie Molins, Michaela Nettell and Tom Simmons, Richard Paul, Helen Pynor, Melanie Stidolph, Karen Stripp.
Core Gallery is delighted to present Psychometry, an exhibition of works by 12 contemporary artists that channel and manifest the intangible and invisible through their work.
CORE GALLERY EXHIBITION!
Core Gallery Open Submission Exhibition for Deptford X 2010
Private View and Award Ceremony: 23 SEPTEMBER, 6.30-8.30pm
General Opening Times: 24 SEPTEMBER - 3 OCTOBER 2010
Mon - Weds by appointment, Thursday - Sunday 12-6pm
Core Gallery presents its open submission exhibition which runs alongside the annual Deptford X festival. Taking as its prompt the festival’s statement of intent - ‘Grand and spectacular, ephemeral or concealed, art qualified and created by daily life’ - the Core Gallery Open Submission showcases a cornucopian display of contemporary artwork in a variety of different media. This is the only open submission exhibition in Deptford X 2010. Eighteen artists were selected from an outstanding pool of entries by prominent judges Graham Crowley, the UK’s most distinguished living painter, Matt Roberts of Matt Roberts Art and Kate Jones, Marketing Director of John Jones.
The artworks comprise of painting, sculpture, photography, textiles and drawing and range from ethereality to the urban, from blissful childhood innocence to stark modern reality. The group of selected artists comprise 2010 Royal Academy Summer Exhibition exhibitor Edd Pearman, 2010 Jerwood Drawing Prize exhibitor Laura Moreton-Griffiths and artist James Wright, singled out by Kay Saatchi in the 2008 Selfridges Art Exhibition: Anticipation.
The full selected cohort of artists is as follows: Jonny Aldous, Eleanor Bowen, Tom Butler, Mr Clement, Robin Dixon, Louisa Durose, Marenka Gabeler, Alison Hand, Alyson Helyer, Anna-Maria Kardos, Simon Leahy Clark, Jin Han Lee, Marion Michell, Laura Moreton-Griffiths, Edd Pearman, Daisy Richardson, Liz West and James Wright.
Three of these artists will additionally be selected for a further exhibition at Core Gallery in 2010. This shall be announced at the Private View.
THE EIGHTEENTH EMERGENCY
Andrew Bryant, Frauke Dannert, Chas Higginbottom, Stefan Sulzer, Burcu Yagciogul and Daniel Lichtman
27 AUGUST - 4 SEPTEMBER 2010
Private View: 26 AUGUST 2010: 6.30-8.30pm
Deptford Last Friday: 27 AUGUST 2010; open until 8:30pm
General Opening times: Thurs-Sat 12-5pm, or by appointment
Core Gallery is delighted to present 'The Eighteenth Emergency', an exhibition that brings together the work of 6 emerging international artists.
The exhibition takes as its prompt Betsy Byers’ short novel ‘The Eighteenth Emergency,’ a text, which sees two boys create a series of action plans for unexpected and exotic ‘emergencies’. Apparently a ‘rights of passage’ book for adolescent boys, in Andrew’s rereading of the text the real emergency reveals itself to be masculinity itself, when one of the boys, whose nickname, significantly, is Mouse, finds himself on the wrong side of school bully Mary Hammerman. According to Andrew the narrative unwittingly reveals the violence at the heart of masculine identity, when in the penultimate scene the two boys literally knock each other into position.
As a counterpoint to Byers’ novel, Andrew draws a lot of inferences from Queer Theory, in particular the work of Judith Butler, who describes masculinity as a nexus of fears about feminisation and homophobia. In a culture of individuals who define themselves through gendered identity and desire, is it possible that this panicked masculinity produces varying intensities of intersubjective violence, which are played out across personal, social, political and even aesthetic boundaries? These are the questions the exhibition attempts to address.
Andrew Bryant, Pale Rider, 2010. Andrew has described Pale Rider variously as a portrait of his father, a self portrait, the actualization of the depression he suffered after the death of his brother, or simply the burden of his own death, something we all carry inside us and which gets heavier as we get older. Far from being merely personal interpretations, these observations point to a masculine identity born of injury. Shadowy, brooding, anonymous, mute, potentially violent and forever departing - this Clint Eastwood cliché represents a particular way of responding to loss or trauma, but is it the only way? According to Judith Butler what connects us all is this very injury. Drawing from Freud and Lacan, Butler asserts the idea that subjectivity emerges through an encounter with the other that leaves us partially opaque too ourselves. This opacity is experienced as loss, or trauma, and it is the way we respond to this trauma at the heart of identity that defines how we unfold as subjects. The implication here is that rather than being the cause for withdrawal, paranoia and aggression – as in the case of the Pale Rider – our shared experience of loss and its resulting self-blindness, can form the basis of an intersubjective connectedness.
Frauke Dannert, Untitled, 2010. transforms the aesthetics of brutalist architecture into the aesthetics of war, thus articulating the latent aggression in the modernist project. Paradoxically, the use of paper collage, with its flatness and insubstantiality, injects the image with a sense of vulnerability, so that the agency and potency acquired by these oppressive concrete structures in the act of taking flight, is simultaneously undermined. However, this vulnerability, this lack, remains invisible to the agent, or rather it is denied, split-off, and thus mastered, but at what cost?
Daniel Lichtman, Untitled, 2010, Dan’s work, a series of texts apparently drawn from the diary of an adolescent boy, poignantly reflects the dissecting action of language when we attempt to put ourselves into words. As the boy tries to make sense of the death of his Grandmother and his early relationships with girls, we become aware of the inadequacies of empirical language when it comes to matters of the soul. But beyond an exploration of the limitations of language, what is alluded to here is the necessity, or the perceived demand, that we must give an account of ourselves, and that only through this ‘accounting for’ will recognition of the self be achieved. That the narrator is a boy is not insignificant, since masculinity, with its structural instabilities, is particularly concerned with recognition and with the apparent certainty empirical language offers.
Stefan Sulzer, You Should See The Other Guy, 2010 Consisting of a double self-portrait in which the artist has bloody knuckles, we immediately construct a narrative of violence – what has happened here? The title You should see the other guy alludes to a fight, but what is significant I think is the form of the address this statement takes: who is speaking here, about whom, and to whom? The speaker, the ‘other guy’ and the listener, all presumably men, have their masculinity defined through their inclusion in this socially coded exchange. The utterance is a kind of shibboleth that reveals the tacit agreement amongst men that masculine identity is born of violence. You should see the other guy most directly reflects Andrew’s interpretation of Betsy Byers’ novel The Eighteenth Emergency.
Chas Higginbottom, Mujer española con una rosa / Hombre española con sombrero, 2010 Paying close attention to detail, this installation weaves cheeky art-historical references in with the cliché’s of sexuality represented in Hollywood movies. He is particularly interested in masculinity and femininity in pre-industrial Mexico and the American West, a time when perhaps gender was more clearly defined. Though the two elements work well separately, when they are brought together their dependency upon one another for recognition becomes delightfully clear: this is the idea that what makes a man a man is a woman and vice versa. But far from using this relationship to accentuate gender difference, an activity that can only result in misrecognition, why not recognise the debt we owe one another and see this as the very thing that binds us together. In short, we all lack, and it is in the place of lack, where we need another to give form to our being, that difference gets broken down.
Burcu Yagcioglu Burcu’s video is the most overtly political work in the show as it points directly to the covering of women in Muslim societies. Here though the woman’s own hair becomes the veil, as she ‘styles’ it to resemble a headscarf. This action articulates Judith Butler’s observation that there is “no I that can fully stand apart from the social conditions of its emergence…”. This assertion of Butler’s, and Burcu’s video, both point to the complex relationship between history, power and the gendered subject.
Core Gallery's highly considered and dynamic annual exhibition program explores, excites and stimulates discussion. The Eighteenth Emergency is the latest of a series of successful exhibitions in Deptford, and signals the gallery’s intent to showcase some of the best contemporary work coming out of London and which will travel to a world stage.www.coregallery.co.uk
Core Gallery / Cor Blimey Arts
C101 Faircharm Trading Estate
Deptford, London SE8 3DX
THE PLEASURE PARLOUR
10th - 12th September
Private view: 10th September 6pm - 9pm
Open: Saturday & Sunday 12 - 6pm
An art festival celebrating the exotic, erotic and sensuality with fabulous work from Enver Gursev, Holly Revell, Kelda Hole and Peter Davis. Each artist has their own approach to exploring the physical form but an exploration it will be......
There will be live music, performers, dancers and dj's throughout Friday night and Saturday.
Interactive light photography will take place on site by Holly Revell.
DEPTFORD X 2010
24th September – 3rd October
Core Gallery Open Submission Exhibition at Deptford X
Private View and award ceremony: 23rd September, 6.30-8.30pm
General Opening Times: 24th September- 3rd October, 2010
Mon-weds by appointment, Thursday- Sunday 12-6pm
An exhibition of outstanding contemporary art of all mediums selected by prominent judges:
Graham Crowley; One of the most distinguished living painters in the UK today
Matt Roberts; Curator and Director of Matt Roberts Arts
Kate Jones; Art collector, patron and Marketing Director of John Jones
Selected Artists for the exhibition shall be announced on the 17th August on our website: http://coregallerydeptford.blogspot.com/
This is the only open submission exhibition in Deptford X. 2010
The theme for this exhibition is inspired by Deptford X’s statement of intent; ‘Grand and spectacular, ephemeral or concealed, art qualified and created by daily life.’
3 selected artists from this exhibition shall also win an additional exhibition at Core Gallery in 2011 and shall be announced at the opening night of the exhibition.
THE MUSEUM OF LIFE, DEPTFORD
24 SEPTEMBER- 3 OCTOBER 2010
Foyer of Core Gallery during Deptford
An installation of a museum display, inspired by the local landscape; exploring a variety of drawing; containing portraits of the Deptford community, 3D drawings of precious and everyday objects, adorned with individually crafted identity 'wallpaper' pieces.
'The Museum of Still Life, Deptford' was created by 70 participants from local community groups on the 'Drawing Experiment' day in September 2010 with artists from Cor Blimey Arts, Creekside, Utrophia and the Old Police Station studio- all art spaces near to Core Gallery.
The installation shall be displayed in the foyer at Core Gallery in Creekside Deptford and you are welcome to make your very own museum box at the exhibition and contribute to the installation!
The Museum of Still Life has kindly been funded by Lewisham Council Arts Service’s Take Part Fund and is part of the Be More Campaign.
OPEN STUDIOS AT CORE GALLERY
Weekend of the 24th-26th September 2010
Opening Night: 24th September, 6.30-8.30pm
General Opening Times: 24th September- 26h September 12-6pm
Studios are always open by appointment
God Delusion Machine, Geoff Litherland
Cor Blimey Arts/Core Gallery is an artist led studio and gallery complex in Deptford, South East London. Cor Blimey artists are a wealth of national and international talent
We are professional emerging and established artists creating interesting and diverse contemporary artwork and have exhibited UK and Worldwide. Our artists produce a wide range of artwork - painting, sculpture, printmaking, photography, digital works, installation and pottery.
Come along, speak to the artists who work here in person, see new works and pick up a bargain in a studio sample sale.
Cor Blimey Arts set up Core Gallery an artist led space, which has a dynamic exhibition programme of curated contemporary art shows of both emerging and established artists.
Patrick Morrissey, Clive Hancock and Leyla Folwell
8th- 16th October
Private View: 8th October
Core Gallery presents the culmination of a collaborative project between Patrick Morrissey and Clive (Hanz) Hancock, plus special guest ceramicist Leyla Folwell.
In this group show Morrissey’s work represents a development of ideas initiated whilst taking his degree at Goldsmiths College. Morrissey utilizes geometric and numeric systems to create a visual field or ground which contradicts and simultaneously informs the audience’s perception of each piece. The work has sympathy with the neo-concrete/neo constructivist movements of the late 20th century, represented by artists such as Jose Patricio and Kenneth Martin.
Clive (Hanz) Hancock has evolved his method as an outsider artist. He started to produce art in the late 1970s, very much influenced by the punk art and music scene. He has no formal art education and uses much ‘discarded’ material in his work. The title of this show is intended to bind the works together under a theme which may evoke any number of associations with Pop culture and kinetiscism.
Leyla Folwell trained in ceramic design and has been concentrating on the deconstruction of simple everyday forms. Her unique making method captures energy in motion which she turns to stone. Freedom and self expression are key principals in Folwell's own work. She is stepping up to the challenge of responding to the dynamic and sensitive work of Pat & Hanz.
Folwell trained in Ceramic Design at Loughborough University, leaving her with an excellent technical understanding of clay. She now works as Technical Demonstrator at Brighton University on the Materials Practice course as well as running workshops and leading projects of her own. Folwell won the Craft and Design Selected Award for ceramics in 2009 and has exhibited internationally in Beijing and across the UK and has had her works published in Ceramic Review. SISYPHUS: THE ABSURD HERO
Private View: 21 October: 6.30 - 8.30pm
21 - 30 October 2010
Deptford Last Friday Late Opening: 29 October 2010; we remain open until 8.30pm
8 artists respond to the Greek myth of Sisyphus through sculpture and video, exploring notions of the absurd, futility and circularity whilst displaying an immersion in the process, be it material or conceptual.
In Greek mythology Sisyphus was the king who for his crimes was subjected to the ceaseless task of pushing a boulder up a mountain only to watch it fall down the other side, and to repeat this for all eternity. It is Sisyphus’ approach to his hopeless fate that rouses interest, the myth being frequently revisited by both visual artists and literary figures.
Nick Bailey’s work uses readily recognisable and archetypal objects as a launchpad to a new realm, one of temptation and disappointment. Using a language of familiarity which stretches to one of whimsical desire and self-restraint, Bailey’s work questions the act of spectatorship. Is it acceptable to engage with the work? At best, this still only amounts to physical contact with an object or objects and remains only a superficial disguise.
Alexander Bates is inspired by the human desire to create order out of disorder, undermining and rebelling against this compulsion. His work attempts to question the definition of something as a “work” of art, as well as questioning the object’s value.
Jim Bond is best known for his large scale kinetic sculptures and installations. Bond uses the human condition as a springboard for his mechanical works. Often reductive and subtly humorous these works highlight the circular nature of the everyday. The cold mechanical aesthetic of these works is frequently at odds with the very human content evoked.
Through his work Rodney Dee explores notions of ritualism and the connections held between physical action and transcendence. Whilst working predominately in video and basing works around the body, Dee looks to explore one’s ability to exceed boundaries, and move between different spaces. An interest in the perpetual nature of the Sisyphus legend comes to the fore in Dee’s artistic practice.
JooHee Hwang’s questioning of the idea of territory results from personal experience: of finding herself in unfamiliar surrounds. She explores a ‘subjectivity of space’ through her vast sculptural installations. Hwang’s interest in the Sisyphus myth lies in the notion of a world within a world: for Sisyphus, the mountain became a world within itself, a new reality.
Rachel Price's work is concerned with investigating the dynamic between our material and our conceptual worlds, often through the pairing of image and form. Price works on the assumption that our physical experience of the world helps inform our conceptual formation of it. As an independent curator Prices provides opportunities for artists to produce new works in response to challenging curatorial themes, questioning the context of artistic practice.
The exhibiting artists are amongst the freshest of the contemporary arts sphere in London and all have well-established careers in the art world, both in the UK and internationally. It is a pleasure to bring them together in Deptford, itself home to a burgeoning artistic community which it is Core Gallery’s intention to reveal.
If You Don’t Like the Road You Are
Walking, Start Paving Another One
25 JUNE – 3 JULY 2010
PRIVATE VIEW: 24 JUNE 6PM – 9PM
Deptford Last Friday: 25 June, Late Opening until 8.30pm
General Opening times: Thursday- Saturday 12-5pm or by appointment
1. We will make work in the gallery.
2. We will work with limited materials.
3. We will work under a set of rules.
4. We will break the rules.
5. We will work independently.
6. We will work together.
7. We will do no work.
8. We are the work.
Core Gallery is delighted to present an onsite collaborative experiment in collage, sculpture, photography, drawing, video and performance by four artists currently studying on the MA Fine Art at Central Saint Martins.
My work has been sculpture based for the past five years and has evolved through various stages incorporating large outdoor public events as well as smaller, performative pieces. The work I have chosen for this show is called ‘Hostess’ and consists of three photographs of papier mache heads on sticks which are guests at a fantasy dinner party, where I am the perfect hostess, confident, witty and the centre of attention. This is in somewhat stark contrast to reality and these images depict an afternoon where I called the shots.
My work is a process that examines my environment and shifts through the narratives that are woven in it. I use these narratives in my work, particularly studying the historical implications of these in how we understand stories, how we remember, and how we place ourselves within them. Part of my process is collecting the remains of my environment (flyers, discarded tickets, receipts, menus) and layering them into a book inserting drawings and notes. I am rearranging, dispersing material in a way where subjectivities can unfold. This process runs parallel to my video practice where I work with fragments of video, some that I have found from the history of cinema and some that I have taken in my environment. Similarly I bring these video fragments together. I bring them together under a narrative, but use timing, pacing, and the quality of the image itself to play off of each other to expand the space and create a layering of histories.
Woven into a series of unstable historical narratives the artwork or art object undeniably exists, enduring only through reading, re-reading and re-invention. What this endurance of the artwork or art object can reveal about the nature of history is central to my practice.
Most of my work is inspired by real and surreal world, movies and actors, cityscapes and nature. My practice tends to render equivalent two typologies of work: painting and collage. There are ‘two sarahs’ in a way, a serious, controlled one and a crazy freer one. The minimalist landscapes painted with gloss and oil paint on aluminium or stainless steel sheets and collages, answering to the principles of minimalism, it is question of precision, conceptual coldness and the importance of the physical presence of the materials. Doing collage is more emotional, it is paying attention to details, outlining selected shapes, it is a funny meeting of oppositions, happening at the surface of things.
Furthermore, collage is obviously mostly based on the mode of reappropriation because it is choosing pre-existing forms from different sources you find singular in everyday life. However, my intention is different from entertainment or communication because it doesn’t serve for needs, I am driving my work to a dimension Heidegger calls ‘an unusual space’, a freed space, ‘clearing a space larger than the typical space’. To approach this particular space, I make an effort of presence of the work, by presence I mean density of manifestation, how to increase the presence (charisma) of the shape shown in its relation with the world (the wall and the space of exhibition, the light, the viewers).
For four days I just know I am going to do collages in situ at the Core Gallery
NOTES TO EDITORS
Core Gallery is run by a committee of artists from the Royal College of Art, Goldsmiths, Camberwell and Wimbledon College of Arts amongst others.
Exquisite Corpse, also known as "exquisite cadaver" is a method by which a collection of words or images is collectively assembled, the result being known as the exquisite corpse. Each collaborator adds to a composition in sequence, either by following a rule or by seeing what the previous person contributed. Best known for its adaptation by the Surrealists Exquisite Corpse has its origins in the old parlour game Consequences in which players write in turn on a sheet of paper, fold it to conceal part of the writing, and then pass it to the next player for a further contribution.