Components of the Image
COMPONENTS OF THE IMAGE
10.10.09 - 18.10.09
Components of the Image brings together a selection of artists who question our understanding of how images exist now. The exhibition is the first in a series of events curating work by contemporary practitioners using seminal texts that have made us re-think what an image is and means. Using the last chapter in Gilles Deleuzes text Cinema 2 as a starting point COI brings together five artists with varied practices who deal with this theme in a variety of ways which all nod to various components Deleuze references in relationship to Cinema. From the subtlest of sculptures to the most palpable photography the work on display at +4411 Gallery in Glasgow you could say is conservative in that it stays within the boundaries of the rectangle and the video screen, however there is subversive radical gestures that lay ‘within’ the work, within the reading of these pictures and videos and sculptures.
Now, it is the visual image in its entirety that must be read, the components used to ‘read’ an image being now only the ‘pointillé’ (small dots used to create a larger pattern) of a stratigraphic layer or the variable connections from one layer to another, the passages from one to the other. – the readability of the visual image, the ‘duty’ of reading the image , no longer relates to a specific element.
Gilles Deleuze – Cinema 2
Eugenia Ivanissevich's work is distinctive for its playful approach to moving image, exploring the potential for ordinary objects to share form or role with optical instruments and for challenging the mechanisms and props with which we view moving images. Ivanissevich recently had a solo show at Centro Cultural España, Montevideo, Uruguay.
Through deconstructionist philosophies Jon Garlick re presents and re-contextualises film narrative structures. His practice utilises various techniques of reappropriating existing footage such as re-editing narrative films or creating collages from multiple film clips from his accumulated archives. He investigates the audio-visual image, it's unique (non) narrative language and where, in between these two entities, lays the real and the fantastical. Garlick studied for his Fine Art BA at Central Saint Martins.
Schwabs’ work investigates a different way of seeing that moves away from the central perspective of the camera and uses manifestations of technology to bring about a more abstract, dynamic, and even contradictory, visual space. Using a number of methods such as selecting blobs of colour in images, mapping urban spaces and distorting shapes and figures, which are then reworked within a variety of media. The work critically challenges preconceptions of technology by advancing an artistic understanding that allows us to see the world from the hypothetical perspective of radical technology. Michael Schwab holds a practice-based PhD from the School of Fine Art, Royal College of Art.
Smith’s imagery contain seeds of understanding that exist at the very threshold of thought, displaced and in a state of oscillation between life and death, memory and erasure. Working across mediums Smith creates a dialog between viewer and image, a dialog where something interrupts or breaks, a moment of caesura that enables a new departure to occur. Smith was selected for the 2009 Bloomberg New Contemporaries.
Within Murray’s practice he explores the ways in which the cinematic medium has blurred distinctions between illusion and reality, and thereby investigate the notion of a “cinema of illusion” and escapist leisure pastimes in the twenty first century. His interests lye in cinema’s power to seduce the viewer into its imaginary spaces. How it allows us to abandon our sensibilities and become lost in a three dimensional dreamspace. Murray is a graduate of Glasgow School of Art.