FOCAL PERCEPTION

FOCAL PERCEPTION ARTMOORHOUSE MOOR HOUSE 120 LONDON WALL

“ T h e w h o l e i s o t h e r, t h e n t h e s u m o f t h e p a r t s ” - K u r t K o f f k a

FOCAL PERCEPTION LAURA FISCHER - KIBI SCHULTZ - DANIEL WOODFIELD

FOCAL PERCEPTION

LAURA FISCHER - KIBI SCHULTZ - DANIEL WOODFIELD

23rd OCTOBER 2015 - 20th NOVEMBER 2015

ARTMOORHOUSE I MOOR HOUSE, 120 LONDON WALL, LONDON EC2Y5ET

EXHIBITION CURATED BY ELISA MARTINELLI, AVRA ALEVROPOULOU

BROCHURE CONCEPT ARTMOORHOUSE

ALL IMAGES © LAURA FISHER - © KIBI SCHULTZ - © DANIEL WOODFIELD

MEDIA PARTNER First published in 2015 by ArtMoorHouse All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and publishers.

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“ T h e w h o l e i s o t h e r, t h e n t h e s u m o f t h e p a r t s ” - K u r t K o f f k a

An exploration of the existence of reality through the representational perspectives of three Artists.

The world as-it-is, is more than pure objective fact. It is a visual deception of experiential validity filled with the continuous influx of information that tests and shapes our consciousness via perceptual working m e m o r y.

How you see things is filtered through your own perceptions and consciousness – what you choose to see is what is there. The absence of a holistic image is perhaps the consequence of the act of zooming in and of zooming out.

The work of the three artists creates a dialogue about the clarity of mind investigating the focal length from which they perceive the surrounding environment.

U s i n g F i s c h e r ’s w i d e a n g l e l e n s i n p a i n t i n g , W o o d f i e l d ’s d e f u s e d p h o t o g r a p h y a n d S c h u l t z ’s s c i e n t i f i c d i g i t a l microscopical examination, this group exhibition comes to question the certainty of our vision.

 

Laura Fischer - Untitled 1 - 2015 - Acrylic on wood -61 cm x 91 cm

 

Laura Fischer - Untitled 2 - 2015 - Acrylic on canvas - 75.5 cm x 101.3 cm

 

Laura Fischer - Untitled 3 - 2015 - Acrylic on canvas - 60 cm x 75.5 cm

 

Laura Fischer - Untitled 4 - 2015 - Acrylic on canvas -122 cm x 91 cm.

 

Laura Fischer - Untitled 5 - 2015 - Acrylic on canvas - 76 cm x 76 cm

 

Laura Fischer - Untitled 6 - 2015 Acrylic on canvas - 50.5 cm x 60.2 cm

 

Laura Fischer - Untitled 7 - 2015 - Acrylic on canvas - 75.5 cm x 101.3 cm

 

Laura Fischer - Untitled 8 - 2015 Acrylic on canvas -50.5 cm x 60.2 cm

 

Laura Fischer - Untitled 9 2015 - Acrylic on canvas - 60.7 cm x 60.7 cm

 

Laura Fischer - Untitled 10 - 2015 - Acrylic on canvas - 50 cm x 50 cm

 

Laura Fischer - Untitled 11 - 2015 - Acrylic on board 42.5 cm x 35.5 cm

 

Laura Fischer - Untitled 12 - 2015 - Acrylic on canvas - 60.7 cm x 60.7 cm

 

Laura Fischer - Untitled 13 - 2015 - Acrylic on canvas - 50 cmx 50 cm

 

Laura Fischer - Untitled 14 - 2015 - Acrylic on canvas - 76 cm x 76 cm

 

Kibi Schultz - Combustion - Lightbox (Mixed Media) 77 cm x 68 m x 16 cm

 

Kibi Schultz -Diametric Opposition- Lightbox (Mixed Media) 95 cm x 68 cm x 16 cm

Kibi Schultz -Blaschka’s Universe - Giclée on Paper - 40 x 50 cm

Kibi Schultz -Engage - Giclée on Paper - 40 cm x 50 cm (Each Frame)

Kibi Schultz -Touch- Giclée on Paper - 40 cm x 50 cm (Each Frame)

Kibi Schultz Eye of Good - Giclée on Paper- 61cm x 91 cm artist’s proof - series of 10

Kibi Schultz Emerge - Giclée on Paper- 61cm x 91 cm artist’s proof - series of 10

Kibi Schultz Painted Lady - Giclée on Paper- 61cm x 91 cm artist’s proof - series of 10

Kibi Schultz Emerge - Giclée on Paper- 61cm x 91 cm artist’s proof - series of 10

Kibi Schultz Urban Landscape - Giclée on Paper- 61cm x 91 cm - 1/10

Kibi Schultz Proximity (Diptych) - Giclée on Paper- 122 cm x 91 cm - 1/10

Kibi Schultz Glow (Diptych) - Giclée on Paper- 61 cm x 91 cm (two frames) - 1/10

 

Daniel Woodfield - Untitled 1 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 2 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 3 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 4 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 5 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) - 1/25

 

Daniel Woodfield - Untitled 6 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 7 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 8 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 9 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 10 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 11 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

 

Daniel Woodfield - Untitled 12 - Inkjet on platinum paper- 30.5 cm x 45.7 cm (framed) -1/25

ARTISTS

ON

SHOW

Laura Fischer To l i t t l e L a u r a , t h e w o r l d s e e m e d f a r t o o i n t e r e s t i n g t o w a s t e t i m e t a l k i n g a b o u t i t . I n s t e a d , s h e d r e w i t . A n d created other worlds of her own. She had her first solo exhibition at the age of 12. At the opening reception, she met Cecilia Mones Ruiz, Maître de Ballet and lead dancer at Béjart Ballet: Laura became her first student.

Soon, she was dancing in the Ballet de la Côte. It was also at this time that she discovered photography and filmmaking.

These different mediums naturally complemented each other; her understanding of the body acquired through d a n c i n g h e l p e d h e r d r a w i n g s , w h i l s t t h e a c u t e e y e f o r d e t a i l s h e u s e d i n d r a w i n g i n s p i r e d h e r p h o t o g r a p h y, a n d her knowledge of photography aided her in the creation of visually striking choreographies. This, combined with her studies in mathematics and physics, led her to develop works that somehow in the process or the final piece included many diverse elements.

S h e w o n a w a r d s i n V i s u a l A r t s , P h o t o g r a p h y, L i t e r a t u r e , P h i l o s o p h y a n d P o l i t i c s , a n d h a s e x h i b i t e d h e r w o r k i n Switzerland, Los Angeles and London, where she came to further develop her practice at Central Saint Martins College of Art and Design. She has also taught art and dance to children in Morocco and the UK. She is now t h e C o - F o u n d e r a n d D i r e c t o r o f O n e n E n a , a c r o s s - d i s c i p l i n a r y A r t c o m p a n y, w h i c h i s t h e f r u i t o f L a u r a ’s endeavour to combine different disciplines in the conception of creative works.

Artist Statement Environments Beyond Distinguished T h e s e p a i n t i n g s e x p l o r e t h e c o n s e q u e n c e s o f a b r o k e n t e m p o r a l i t y. W h e n p a s t a n d p r e s e n t c o l l i d e t h r o u g h t h e o c c u r r e n c e o f f l a s h b a c k s , t h e m i n d i s r i p p e d f r o m i t s n a t u r a l o r d e r, s h a t t e r e d , a n d i t s p i e c e s b e c o m e p a r t o f t h e r e a l m o f u n c e r t a i n c e r t a i n t y a n d c e r t a i n u n c e r t a i n t y. T h e j o u r n e y t o f i n d s e n s e t h r o u g h t h e s e undistinguishable environments takes one from confusion to identification. Whilst the lines guide and misguide, the colours are reminders of hope.

L a u r a F i s c h e r www.onenena.com

Kibi Schultz Diametric Opposition K i b i S c h u l t z ’s i m a g e s e v o k e a v i s u a l l a n g u a g e f o r t h e d i a l o g b e t w e e n d i s p a r a t e a n d s o m e t i m e s o p p o s i n g f o r c e s : art/science; nature/technology; inter nal/exter nal; ephemeral/immortal. Much like our own daily experiences, it is in the fusion of contradiction, this feral space, where conversations and ideologies intersect and gestate.

T h r o u g h h e r p h o t o g r a p h y, s c u l p t u r e a n d d e s i g n w o r k , S c h u l t z e n t i c e s t h e v i e w e r t o s h i f t p a r a d i g m s a n d c r e a t e new conversations.

To e n c a p s u l a t e h e r m a n y i n t e r e s t s , S c h u l t z h a s r e c e n t l y b e g u n w o r k o n F e r a l L o n d o n . T h i s l i f e s t y l e b r a n d s t a r t u p c o m b i n e s S c h u l t z ’s v a n g u a r d d e s i g n s a n d p r o v o c a t i v e a r t i s t i c a e s t h e t i c w i t h a n e m p h a s i s o n e n v i r o n m e n t a l p r e s e r v a t i o n , s u s t a i n a b i l i t y, a n d e d u c a t i o n .

Ms. Schultz studied Entomology and Environmental Conservation at the University of Califor nia Berkeley before p u r s u i n g h e r B FA a n d P o s t - B a c c a l a u r e a t e d e g r e e i n F i n e A r t s a n d A r t s E d u c a t i o n f r o m t h e S c h o o l o f M u s e u m o f Fine Arts, Boston. It was then that her lifelong curiosity in the relationship between art and science was s o l i d i f i e d . I n 2 0 1 4 , S c h u l t z r e c e i v e d h e r M A i n A p p l i e d I m a g i n a t i o n i n t h e C r e a t i v e I n d u s t r i e s f r o m L o n d o n ’s C e n t r a l S t . M a r t i n s U n i v e r s i t y.

Schultz has exhibited at the Museum of Fine Arts, Boston; the Institute of Contemporary Arts, Boston and the National Museum of African American Artists as well as galleries in New Yo r k a n d C a l i f o r n i a .

Kibi Schultz Fine Art www.kibischultz.com

 

D a n i e l Wo o d f i e l d S a x o p h o n i s t a n d c o m p o s e r, p e r f o r m i n g n a t i o n a l l y a n d i n t e r n a t i o n a l l y s i n c e t h e a g e o f t h e 1 2 , D a n i e l d o e s n ’ t solely express his creativity through music: photography and filmmaking are also among the tools of his trade.

It is in his teenage years that he begun looking at the world through the lens of a camera and has since been capturing moments. He recently had his photographs exhibited in a gallery in Los Angeles. Combining all his artistic skills, he is now co-founding and directing the cross-disciplinary company Onen Ena with fellow artist L a u r a F i s c h e r.

Artist Statement

As an artist working across mediums I do not wish to claim to be the best or the most technically brilliant and this applies to all the variants I work in. What I do hope to offer however is, perspective. What I love about b r i n g i n g e x p e r i e n c e f r o m d i f f e r e n t a r t f o r m s i s t h e a p p r o a c h i t c a n g i v e y o u , t h e t h o u g h t p r o c e s s , t h e w o r k f l o w, a n d m o s t o f a l l w h a t t h e u n d e r l y i n g c a u s e i s ; c r e a t i v i t y. Â I t r y t o s t a y m i n d f u l t h a t I w i s h n o t t o p r e a c h , s o i t really is an offering of perspective that I make. As a viewer or a listener or a witness it is up to you to decide w h a t y o u m a k e o f i t . L i k e i t , l o v e i t , h a t e i t , a l l a r e u s u a l l y j u s t i f i e d , b u t I w o u l d l o v e t o h e a r w h y.

Photography for me is an interesting one. W ith camera in hand you soon begin to realise that art is truly everywhere, its just about whether you can find it or not. Sometimes it comes looking for you and taps a barrel on your nose, other times you might wait for hours for the sun to finally appear to illuminate the scene you c a m e a c r o s s . W h a t e v e r w a y y o u c o m e a c r o s s i t , y o u h a v e t o b e r e a d y, a n d n o t j u s t i n a t e c h n i c a l s e n s e , y o u have to be ready to see the essence of the art in front of you, be mentally prepared to be shocked, charmed or outraged and last but not least, capture it.

T h i s c o l l e c t i o n o f p h o t o g r a p h s f o r m e r e p r e s e n t s a t r a v e l l e r s c u r i o s i t y, a n e n d e a v o u r t o s e e w h a t h a s b e e n seen, but in a way that hasn't. Or maybe this way has been seen, but perhaps not noticed. But even if noticed, has it been appreciated? We pass things in our day to day life without pause for thought, often rightfully so, but often not. These are some of the things I found when I did pause, and I did think.

Daniel Woodfield www.onenena.com

O n e n E n a i s a s m u c h a c o n c e p t a s i t i s a t a n g i b l e t h i n g . I t ’s a t h o u g h t p r o c e s s , a w a y o f c o n d u c t i n g y o u r s e l f , an ethical guide. Meaning “One Soul” in Cornish, Onen Ena symbolises the equality and unity of all art forms and artists alike.

I n p r a c t i c a l i t y, w e a r e a c r o s s - d i s c i p l i n a r y A r t c o m p a n y. T h i s m e a n s t h a t w e d o n ’ t g i v e p r e c e d e n c e t o a n y o n e art form. In fact, we strive to merge them as often as we can because we feel that working in the blurry borders between the different mediums enables us to strip away the pretext and restraints portrayed on to art t h r o u g h o u t i t s c l a s s i f i c a t i o n s a n d c o n c e n t r a t e o n w h a t r e a l l y m a t t e r s : t h e c r e a t i v i t y.

We live with the concept of “Art W ithout Borders”. This approach not only implies a change in which Art is p r a c t i c e d b u t a l s o i n w h i c h i t i s e x p e r i e n c e d b y t h e a u d i e n c e a n d i n t h e r o l e t h e y p l a y, a s w e l l a s i t s relationship to other disciplines such as philosophy or science, amongst others.

I t d o e s n ’ t e n d t h e r e , h o w e v e r. A r t i n t h i s w a y e n d e a v o u r s t o b r i n g p e o p l e – a n d t h e i r i d e a s – t o g e t h e r. W e believe in exchange and collaboration, and endeavour through our work to give back to the world, which is why you will find the Onen Ena Community and Education, as well as, at a later date, our humanitarian projects.

 

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