PLAN.OPEN: Neo Craft
Group show curated by arebyte X Caroline Jane Harris
Wednesday 22 – Friday 31 October 2014
Martin Lau | Anne Wölk | Russell Miller | Katja Verheul | Ben Gooding | Sabina Tupan
Eva Goldwyn-Simpkins | Isobel Church | Cos Ahmet | Audrey Salmon | Dale Wilson
arebyte is proud to present the fourth exhibition from PLAN.OPEN, featuring works by 11 local and overseas artists in response to the theme Neo Craft. The exhibition looks at the intersection between traditional practices influenced by contemporary culture and technology, alongside computer aided and new media artworks which bare a relationship either in production or content to craft and skill. The exhibition demonstrates the expanding fields of artistic practices in today’s technology orientated era, blurring the lines of the classification of artworks and subverting traditional notions of craftsmanship and aesthetics in fine art. Neo Craft features a range of mediums from painting, printmaking, mixed media, sculpture and woven textiles to video, projection, installation and artist’s books.
Predominantly working with photography, Lau explores notions of authenticity and authorship through staged images and installations. In his work ‘The Fruit of the Labour of My Hand’ composed of a scanogram and hand-made chocolates, Lau highlights the relevance of skill and hand-craft in computer made artworks.
Traditional Renaissance-artist techniques are combined with recycled pop-culture and Sci-Fi motifs in Wolke’s paintings. Her highly evocative skill and style echo that of traditional painting whilst her subject matter speaks of the imagery of futuristic science and technology, which we have only become familiar with from the advances of satellites, cameras and moreover in cinematography and computer-generated-images.
Miller appropriates both the digital and the medium of print to re-represent and subvert the original image. In his works Premonition and My Dreams Aren’t Always So Sweet a dialogue is created between the familiar and the uncanny as images are reduced, cropped and obliterated to take on new meaning and shift the focus of attention. The medium takes precedent in Gucci Women as the quality of a reproduction of a digital image becomes diminished, suggesting how new technologies may betray and expose their origins.
In her work The American Diplomat Series (2010-2012) Verheul distinguishes between the methods in which content and knowledge was distributed in the past and how it is circulated using digital systems in the age of the Internet. The artist takes on the task of pseudo-publishing one of the greatest scandals which has been exposed in the recent times. The series of books make visual reference to the identifiable aesthetics of popular culture classic print-houses.
Gooding's work gracefully weaves across the hand-drawn, digital and traditions of screen-print with his alluring automated patterned works. In the Untitled prints, the artist demonstrates his expertise in the fabrication and realisation of work in silk-screen, whilst taking the pencil line into the digital, allowing the computer to act as an extension of the artist’s hand.
Tupan's highly executed films combine appropriated image with personal video interviews, which contrast with the home-made scenes they contain. In her works the familiar becomes displaced in the foreign and fantastical, determinedly naïve props conjure desires of childhood and a longing for the home-made, cultural traditions and keepsakes.
Goldwyn-Simpkins works include printmaking techniques, alongside sculpture and video projection. The artist questions the preconceptions of 2 and 3 dimensionality in her works 2.5D, whilst in Collapse the artist's concerns are continued where the medium deceives object.
In Isobel Church's work Dreamers, concrete is re-formed in the seat of a chair with casts from topographical maps of the moon. The function is removed from the chair; the soft is replaced with a hard surface, the expected with the unseen, altering the way we perceive the object. The lunar surface taken from NASA’s data is brought back to earth and condensed to a human scale, signifying a place in which to dream of escape.
Ahmet uses traditional mediums typically associated with the decorative and practical as opposed to the conceptual or political. He implements his knowledge of weave, tapestry and other textile-based craft techniques, onto materials borrowed from different disciplines such as metal wire, wool and paper, whilst exploring contemporary themes of sexuality, identity and alter-ego.
Salmon’s works are diverse and full of subtle anecdotes asking the viewer to take an active position in experiencing her pieces. As a multidisciplinary artist using a variety of tools, media and techniques, Salmon takes the participator on a journey of experiencing another world through surprising glimpses and viewpoints. The viewer is invited to get close and intimate with the work, eliminating the space between the spectator and the artwork.
Wilson's work explores tensions between the obsolete and the reclaimable, the digital and the analogue, the machine-made and the man-made. Strands of audiotape are arranged, overlaid and applied to wooden boards in industrial and decorative motifs, evoking the look of machine printed vinyl sheets. This machine-made aesthetic is at odds with the steady and meticulous labour used to produce the work, just as the limited duration of the audio contained on the surface undermines the work's inherent production time.
The show has been curated by arebyte’s team along with international artist Caroline Jane Harris; it marks the end of the 2014 programme looking at relationship between the body and technology.