2 - 24 May 2014
“The term “gesture” is a seductive one, suggesting a sensual affinity between aesthetic expression and the variability and subtlety of physical movement. If pressed to explain gesture, many of us would compare it to language, while perhaps qualifying the analogy by noting that gestures are more organic—and more ephemeral—than either speech or writing”. - Jane Van Slembrouck, reviewing Migrations of Gesture
Gestural Currency is a series of abstract paintings that employ gestural mark making as a medium for exchange. In this series, Darren Munce takes a hueristic approach to each work, solving problems through experimentation and evaluation. The aggregation of marks stimulates each investigation to present a combination of physical action and aesthetic result.
Through a general dissatisfaction with the incomplete, initial position, Munce employs destruction as a creative tool; embracing the uncontrolled gesture to lead the work away from the known and inspire new directions. This aggressive notion of destruction, crucial to Munce’s process, evades the artist’s habit to protect the favoured elements that often restrict a painting’s development. Munce’s carefully crafted paintings evolve through a series of gestures, shifting from the deftly controlled to the accidental. The result is a series of works that operate in strange harmony; a consolidation of disparate elements into a unified whole.
Alice Duncan, Ben Sendy-Smithers and Isobel Taylor-Rodgers
Strategic Memory Protection
Strategic Memory Protection, through mixed media manifestations including video and installation, will examine the claiming of an event by acquisition of its readily distributable, physical manifestations; such as the photograph, the souvenir or artist book. People may choose to acquire these mementos of such ethereal phenomena as art, place or knowledge. When they do it may be as proof, a token of sorts. It may be, more personally, a fetish object, one through which a sacred sentimental connection is maintained. And in a more utilitarian way, these objects may function as an insurance scheme against not being fully present in the moment or losing memory of the event.
Strategic Memory Protection is an exploration into the relationship between acquirer and acquired, the authentic event and the stand in and the function of the souvenir as insurance policy, ready protection against a dissatisfying or forgotten event.
“To the maggot in the cheese, the cheese is the universe. To the worms in the corpse the corpse is the cosmos”- Brother Theodore
Chemical processes can teach us much about the world we live in, through slow observation and consideration of such processes we can interrogate our own condition and positioning in the world as finite mortal beings. To view the world as a set of material substances undergoing a process of transformation and decline is to view the world in terms of the corporeal. Art in this regard should serve as no exception, and is not exempt from the ebb and flow of such material destruction.
The exhibition “Blue movie” focuses on this transition of material substance towards no particular goal or outcome. The audience is invited to view a short performance in which an Oxidized patina shifts tonally from Black (Iron ore) to Verdigris blue.