Two ASC Studio exhibitions in one evening. COMPOSED FORMATIONS with Kyle Kirkpatrick and Jessica Wilson at Unit 3 Projects. Jess has spent the last couple of week intensely making work for this show, making observational lines drawings from her daily surrounding and then using those drawings to inspire the painted forms in 200 A3 paintings.
Then headed to New Cross to meet with Molloy and Jemma and to see ECHO CHAMBER at Zeitgeist Arts Projects with work by Rosalind Davis, Caroline Lambard and Michaela Nettell. Had a very focused conversations with Caroline about her string installation which explores perception of three dimensional form. We’re both interested in how depth can be interpreted and chatted.. writing up the rough notes I made on my phone on the tube home: Lines through space.. filling it.. making us more aware of it.. nice to be able to do so much with not a lot. In fact, use too many lines and you get full shapes which will instead distract from exploring the space. Out of all of the lines filling the room, one line is then picked out and coloured in.. the effect is that the rest of the line dull slightly and there appears to be one stronger line suspended in the space. Like a constellation of stars. The piece follows a ‘Y shape’ rule for deciding where the lines will go (funny: but avoiding recognisable shapes of little human trapeze forms – I compared this to my own avoiding shapes in my paintings that can be picked out as faces). Also spoke about how, to fully appreciate the piece, you’ve to move past or through it. Caroline explained optical parallax.. as a basis of stereopsis we use it to judge depth but as an effect, by moving past objects of varying distances away.. the visual perception can seem almost animated (if you’ve seen them, like the Urs Fischer rain drop installation at Sadie Coles Gallery). Not entirely sure I’ve put that all down correctly but I enjoy it. Reminding me again of a constellation.. look at a 3D map of the star from one perspective and they can appear flat but by shifting the perspective, all of a sudden you’re able to understand the space that they occupy. Read more about Caroline Lambard’s work on her website: calcaro.com