Fig. 9, is an image taken from photographer Victoria Jenkin’s current solo exhibition AS IF IT WERE at CABIN Gallery, Southfields, London.

Here in Jenkin’s photograph, three fish are aligned with three swatches of white paper. Perhaps these are labels, yet to be filled out, or perhaps they are measuring size or, indeed, have been placed to contrast the colours and textures of stark white and silver scale. It might even be easy to entertain that this diagram might be the graphic plan for a game; white squares of paper menacingly seek out swimming sardines in a Pac-man style maze land.

Jenkin’s work “explores the nature of the unknown through fictional scientific works” which ask more questions than they solve. Her images suggest the finding of random encyclopedia or textbook pages where only the diagrams remain, their meanings and illustration now divorced from fact or explanation. Jenkin’s is interested in the idea of the fictional archive and the re-interpretation and adaptation of pre-existing images. They have, she says on the CABIN website, “the suggestion of something logical or demonstrative… My selection process comes from two pools. (…) I collect images which I reference in my constructions and I collect objects which I build from, and the process is in looking for one which suits the other, it is very much a two way street.”

AS IF IT WERE runs at CABIN Gallery until May 3rd and is open Wednesday, Friday and Saturday from 10 – 6pm.

www.cabin-gallery.com/victoria-jenkins-exhibition-april-2015

 

Posted
AuthorSacha Waldron

It’s super to see another new exhibition space, White Wizard (great name), opening up in Liverpool and, again, at the Royal Standard. It seems everything that I want to go and see, outside of the main art spaces in the city, is happening up at their Vauxhall Road campus (Cactus and the programme at TRS itself). Unfortunately I'm just going to miss White Wizard’s inaugural exhibition, NEW PPL: New Paintings by Derek Mainella which closes tomorrow (10 April). If you’re in town I definitely recommend you go and visit because this first exhibition looks really promising. Mainella’s work seems to have the artificial glow of an LA summer. The works are cheeky and fresh with some much needed, post winter, not black and white, sculptural pop.

White Wizard curator Dave Evans was kind enough to send through some install shots so we can flag it up before their closing tomorrow and tells me their next exhibition will be Frances Disley in the summer.

(Just to give you some more info on the work/robbed from press release) Mainella’s paintings occupy the overlap between the digital and the physical. His primary visual research consists of blends and gestural marks made in Doodle Buddy ™, an iPhone app, and Photoshop, which are then translated onto canvas. The canvas is finally cut or taped in a cathartic act that at once opens up the surface and completes the process.

Courtesy White Wizard, 2015

Courtesy White Wizard, 2015

Courtesy White Wizard, 2015

Courtesy White Wizard, 2015

Courtesy White Wizard, 2015

Courtesy White Wizard, 2015

Courtesy White Wizard, 2015

Courtesy White Wizard, 2015

Visit White Wizard at www.whitewizard.org or IRL here: The Royal Standard, 131 Vauxhall Road, Liverpool.

Derek Mainella's website is here

Posted
AuthorSacha Waldron

The stage is set. A drum kit and speaker stack, constructed from wire, await their band at the Museum of St. Albans. This is work from Thomas Raschke, who along with photographer Tobias Hofsäss, are exhibiting as part of the University of Hertfordshire’s exhibition Great IDEA, the second leg of its tour from Galerie der Stadt Backnang in late 2014. The two German artists now both live in Sweden and both are interested in the notion of transparency, both in their work and also in their living arrangements. Sweden is known for its transparency, as the artists discussed at their private view, and rather uniquely one can have access to the most detailed of private information about their neighbour; where they work, what they earn, who they are married to. This of course, does not mean it is any easier to integrate with Swedish society as it would be for an individual moving to any new culture and the exhibition is also about a sense of dislocation and, in some way, an outsider trying to understand and acclimatise.

Tobias Hofsäss, Edsviken, 2012 Panoramic Negative, Aluminium Dibond, 120x49cm

Tobias Hofsäss, Edsviken, 2012 Panoramic Negative, Aluminium Dibond, 120x49cm

Hofsäss focusses on daily Swedish life and leisure activities in his negative prints. A woman shopping, tea dances attended by the elderly, a man ice-fishing or someone sitting on a bench outside an urban cultural centre. The images appear as X-Rays of the environment, the figures ghostly and the buildings rendered as unreal dreamscapes or memories. Several of Hofsäss and Raschke’s works are directly in conversation with each other, a Hofsäss image of ice-hockey accompanied by Raschke’s wire boots for example, a girl playing by a lake and the flower garland traditionally worn by children at this time or the juxtaposition of Hofsäss’ tea-dance shot paired with the drum kit and sound system mentioned previously.  

Raschke has also chosen to render some classic IKEA designs in wire, a lamp, a jug and other household and clothing items. These designs are apparently taken from ikeahackers.net which, pleasingly, when I tried to visit turned up a 508 Error told me their ‘resource limit is reached’. I could see all the works, both Hofsäss and Raschke’s, for sale in IKEA, endlessly replicable furniture and décor for the office and home.  And this is an issue.

Binoculars, 2011, Thomas Raschke, Soldered Iron Wire 12x29x24cm

Binoculars, 2011, Thomas Raschke, Soldered Iron Wire 12x29x24cm

This exhibition is not one of my favourites from the Hertfordshire institution.  Although both bodies of work shown here are certainly accomplished, they seem a little sterile and lack a certain depth.  Casual or accidental museum visitors will, however, find the subject matter unchallenging yet technically impressive and students have a variety of techniques to be experimenting with. I almost wish I had seen this show as a much younger artist, perhaps at A-Level or Foundation, Raschke’s armatures would have definitely had me running for the gardening wire. I am longing though for some more energy and a splash of colour, green cactus’ and blue mushrooms (head to Rashke’s website), in what is a very black and white exhibition.  

Tobias Hofsäss, Kulturhuset(House of Culture),2013 Panoramic Negative, Aluminium Dibond 120x49cm

Tobias Hofsäss, Kulturhuset(House of Culture),2013 Panoramic Negative, Aluminium Dibond 120x49cm

Great IDEA runs at The University of Hertfordshire Galleries until March 22. 

You can watch a video of the artists installing their exhibition here

www.herts.ac.uk/about-us/events/2015/january/great-idea-tobias-hofsass-and-thomas-raschke

Posted
AuthorSacha Waldron