- This event has passed.
02/11/2015 - 22/12/2015
PRIVATE VIEW | Friday 06 November | 6-9pm
I watched as the thrower of the stone attempts to skim it across flat water.
-It has been proven that a 20° angle is the best to achieve this.
As the stone leaves the hand it curves towards the water and its first impact leaves its first splash, it bounces onwards in ever decreasing arches.
-The world record currently stands at 88 by Kurt Steiner in 2014.
I then watched the stone’s forward momentum as it entered the water again, leaving ripples, until it almost glides to a halt and the momentum changes and it sinks without a trace.
-There are numerous names for skimming stones in various countries such as ducks and drakes, ricochet, stone skiffing, smutting, frogs and to dap.
Skim is an exhibition of six artists work, each with a sense of surface and its own subtle interaction with it.
Andy Jackson’s Datum and lnsrt pieces use familiar compositional formats-the pastel/plastic like framing of digital tablets and the floating icon on a desktop computer screen. These compositional elements are incorporated into the layered, physical nature of painting, displaying mark making as a tool to both highlight and obscure the layers of paintwork that went before. In these works painting’s history is treated as an archaeological, layered activity and as a footnote within the vast language of art. Recent exhibitions include: Surface Gallery, Nottingham (2015),Blueprint, Interview Room11, Edinburgh (2015) and Test Space Open, Spike Island, Bristol (2015), and John Moores Painting Prize, Walker Art Gallery, Liverpool (2014).
Natasha Kahn makes work with found objects including gaffer tape. The curling nature of the tape against its supported surface causes the work to last as long as the tape allows, when it gives up the materials are reused, negating the art object as a whole. Recent exhibitions include:DOLPH: The Directors, DOLPH,London (2015). Sluice_Auction, The Hospital Club, London (2014). Circus TM, Belmacz, London (2014), Art/Converters!, Studio1:1, London(2014). Discernable, Zeitgeist Art Projects, (2013).
Paul Cole’s paintings are like improvised ramblings; ideas are tried, tested and rejected on the surface. Following his nose downside tracks and detours till stories emerge like distant versions of an initial desire. Recent exhibitions include DOLPH: The Directors, London (2015),Sluice_Auction, The Hospital Club. London (2014), Creekside Open 2013 Selected by Paul Noble. APT Gallery, London. Sluice_Auction, Hamni Gallery. London (2010), Misfits, The Gooden Gallery,London (2009), TheSolo Project, The Gooden Gallery, Basel, Switzerland (2009).
Rosalind Davis’ paradoxical works imagine a multifaceted set of possibilities for both visualising physical and psychological spaces. Beginning with the rationalised objective geometries of modern architecture; spaces and structures are collaged together and reconceived through paint, thread, photography and installation. Threads act as restraints; their tautness both connecting and dissecting physical and psychological boundaries into shattered geometric planes and shards. Davis’ has exhibited recently at Husk Gallery, Standpoint Gallery, Lubomirov/Angus Hughes and Bruce Castle museum. Davis graduated from Chelsea College of Art and the Royal College of Art.
Lucie Bennett’s delicately constructed paperworks are lightly comic and gently probing. Bodily substrates strain to emerge from external skins. Fragile pupas hang by delicate, accidental threads. Imagery and textures are organic, sensual, at once cartoon like and unsettling. Portals/skins indicate tensions and mysteries between external and internal worlds: parallel organisms operating with different languages. Recent exhibitions include showing at Art Hamptons NY(2015), Lubomirov Easton, London (2015), Studio1.1, London(2014), London original Print Art Fair, Royal Academy (2013) 20/21 RCA (2009) scope Miami(2009 )The Armoury show, NYC (2008).
Flo Ray’s work draws upon various dominant modes of display and communication that exist primarily in order to persuade or convince. Mining this didactic territory and plucking its corresponding paraphernalia from context, she strips familiar vehicles of the irrespective agendas, throwing the spotlight instead on the mechanisms that deliver them. Establishing a dialogue between these uncertain elements, Ray creates a fertile ground for alternative narratives, where muted objects are thrust into a comedy of failures; the cyclical and lethargic nature of which often takes on a performative role. A graduate of The Ruskin School of Art, Oxford University, Ray exhibited most recently at ASC’s Bond House Projects, with Ch-Check.