[Frameworks] Invitation to 'Instance of EMERGENCE' - video projections on Rivington Street, London, 1 Sept. 2011, 7 - 9pm

From: joy <joybillows_at_gmail.com>
Date: Wed, 31 Aug 2011 12:05:51 +0100

You are invited to join us for


*Instance of EMERGENCE

- video projections -

on Rivington Street, London

curated by

Carmen Billows

 featuring works by

***|**Kris Emmerson **| **Jeanne Gargam **| **Catherine Haines **| **Maya
Stocks*** *|

1st September 2011 from 7 to 9pm

> This event is hosted by, and coincides with the opening of

Anais Tondeur

*Instance of Passages*

Space Fifty Four, 54 Rivington Street, London, EC2A3QN (2 -7 Sept 2011)



* *



*With an interest in experimenting with outdoor projections in urban
environments, the featured works have been chosen to bring ideas shared with
Anais Tondeur in her show Instances of Passages at space fifty four, into
another public realm - with this positioning being a manner of exploring
"ways in which we notice and apprehend time through our perception of other
entities, through shifts and transformations of the elements and matter that
surround us" (A.T.)*

*If time as such is rendered invisible and the present seems too thin to
grasp, here these artists investigate ways of making the passage of time
visible. The video works, featuring iconic images, and analysing archaic
forms and shapes as well as materiality and structure of the everyday,
explore the passage of such images through time and different contexts.


*Kris Emmerson*

In Emmerson's work the nature of our understanding of the world is
constantly re-presented and re-defined by computer generated media imagery.
With the three works presented here, Emmerson isolates and releases distinct
'fantasies' from the limitations of a narrative-driven and over-represented
media context, allowing them to exist as autonomous entities, offering a
momentary sense of wonder and a time and place beyond the present. Modelled
after a crude 3D scan of a child’s toy, the dinosaur in*
Dyathinkeesaurus*(2010) marches relentlessly out of its iconic status
into a new time. The
incessantly spinning abstract object in the digital* *animation* Nano *(2010)
takes its form from electron microscope imagery of tiny objects such as
pollen or viruses, and the video animation *Shine *(2011) virtually bridges
the gap between the notion of objective reality and subjective perception.

*Kris Emmerson (UK) graduated from MA Sculpture at the The Royal College of
Art in 2006 and currently lives and works in London. *

*Jeanne Gargam*
Gargam's particular concern is the relationship between images, matter and
the mind. Her formal observation of the passage of an image through
different media contexts in her video *View From Bridge* (2008), is a
reflection on movement and time. Underlying this video is a slide projection
of a still image that Gargam filmed with a digital camera and repeatedly
re-filmed from a computer screen. The layering process animates the still
image and accumulates it with specific effects. In creating a new work, she
deprives the image of its original meaning and makes visible the process of
translation: from still image to time-based image and from analog to digital

*Jeanne Gargam (FR) graduated in 2008 from Chelsea College of Art and
Design, London, and lives and works in London.*

*Catherine Haines*

In her most recent work* Lighthouse** *(2011) Catherine Haines takes the
object 'lighthouse' as the starting point for a highly personal travel into
her past. Sailing along the British coastal line in order to trace the
lighthouses depicted in old postcard images, this object becomes the symbol
for destination and attraction where the lights serve both as navigational
aid and inspiration for myths and legends.

Haines: “For most of my life I have lived within earshot of St Anthony’s
lighthouse. The twenty-two metre high structure cannot be seen from the
village, but on a foggy night the sound of the foghorn ricochets up the
estuary. These sea markers are a part of my heritage and a worthy attraction
in their own right. I accessed them by land and by sea under the premise
that you never really know a place until you visit it.*”*

*Catherine Haines (UK) graduated from The Royal College of Art, London, in
2009 and lives and works in Cornwall. *

*Maya Stocks*

Stock's work *Slow Cherries *(2011)* *forms part of a larger body of
research into sensory experience through colour, pattern and symbolism.
Abstracted and distributed by digital media, processes of creation and
destruction have come to exist on parallel aesthetic planes as* *visual
fodder for sensorial experiences of sublimity and exhilaration. The initial
research into ritual uses of pattern and iconography has evolved into a
broader examination of chaos and creation in the cosmos, locating its
presence in the ‘everyday’ or mundane. Sensations of exhilaration,
obliteration and disorientation are created through a textural exploration
of artificial landscapes, phenomena of visual perception, art-historical
clichés and patterns of disaster. Through artificial landscapes and the
de-familiarisation of the everyday this work searches for ways in which new
perspective on the natural order of the cosmos can be found.

*Maya Stocks (AU) graduated from the University of Technology, Sydney, in
Visual Communications and from The Royal College of Art, in Communication,
London, in 2011 and lives and works in London.*

*Special thanks go to START LONDON and FIX 126, Rivington Street, London,
for their support.*

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Received on Wed Aug 31 2011 - 04:06:28 CDT