website of artist Dominic Fee
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James Brooks
Information – exchange, how it is mediated and received.
Removed all audio but laughter track from Hancock’s Half Hour episode. Assembled biographies with dust jackets removed in alphabetical order (alludes to readymade / de Stijl)
“Procedural invention rather than autobiographical intervention”
Global Editions – newspaper pages with text removed and images replaced with grey boxes, layered over each other, got darker as more were layered, Comments on modernist abstraction. Removes the “currency” of shock form the image which now proliferates media.
Saturates – newspapers covered in black ink, purges the narrative of current affairs yet retains the physical object. Comment on digital readers / screen-based reception of information?
Letter form the House of Commons – letter from his MP about copyright laws converted to computer code and laboriously written out adhering to original layout. Reveals the impersonal, ghost written nature of the correspondence and perhaps the whole political system.
Has also produced audio work – mixing Phil Spector songs together – Hancock’s Half Hour – sound in a cacophany / overbearing. Silence comes as a form of relief.
“Repetition of small marks combining to make a whole…acceptance of readymade asymmetrical composition in preference to self – elevation aesthetic decision-making”
Where is the artist located ???
Domobaal essay on James Brooks’ exhibition Information Exchange;
Anthony Pearson
Arrangements – pairings of bronze sculptures and photographs
Flares – digital transmission to create an abstraction. They are concentric circular forms of light caused by a light leak in the artist’s camera.
Solarizations – silver gelatin prints, drawings on foil, the photographed. Solarization of the final photographic print “creates additional layer of procedural transmission, abstracting the image even further from its initial source” –
“trajectory from conceptual genesis to concrete formalism is the principal act of the work”
Tablet sculptures – original sculpture cast in clay and then cast in bronze. Clay is malleable, can be worked like a drawing to make marks in space. Casting the final result in bronze Pearson conversely engages a process associated with permanence and solidity
Transmissions – large “screens” of cut metal forms like drawings standing upright in space. From one predetermined frontal position the metal fragments align themselves and become like one of his small solarizations. When the viewer moves it dissolves again. Sculpture is now informing and creating an image rather than the other way round.
Notes on Pearson
Pearson’s work seems to be concerned with modernist tropes,. There are similarities to various modes of abstraction from the past, and he wants to explore visiting them again but arriving at his formal references by using techniques involving a certain degree of chance, repetition and application of mechanical processes. It’s interesting that he used to collect and sell on old vinyl records. There’s a nice sense of trawling through the past to find something that has been under-appreciated or forgotten, and giving it a chance to surface again and be seen by fresh eyes in a new context. The works deals in what seems to be opposing forces; handmade / mechanised, gestural / automated, random / ordered.
Liz Kotz piece on Pearson’s work – Liz Kotz on AP
Anthony Pearson delivering a college talk about his work.
[youtube http://www.youtube.com/watch?v=DYrbu_MLvGU]
