Issuu on Google+

From me flows what you call time Vicki Kerr Emily Rosamond Damian Taylor Eleanor Wright Orly Orbach Wayne Binitie Suzanne Caines Barbara Pfenningstorff Andy Weir

Research Exhibition New Academic Building Goldsmiths College 8-16th May 2014


Conceived as a touring exhibition, This project me exploresflows the spaces what characters escape and the subsequent From youfrom call time is creation of new temporalities that can lead them to form a different kind of cosmos.first The television createof a particular type of temporality the of acharacters series events by when we begin to craft our practice in order to infiltrate the theory that we come across. Allowing us to be radically open to ready-made temporalities taken graduates and current researchers from the image economy, we paint a picture where we are unable to separate these two worlds and are left nostalgic for different seasons and a new from Goldsmiths, and the version of a Handmaiden’s Tale as weSlade take a trip around the world. RCA. Suzanne Caines

As the modern exhibition experience moves us across the space of the gallery, museum, landscape, computer screen and the printed text, what is lost and what is found in each site?

Andy Weir Flashed scraps of land loop triggering regional activity. Fields incite bursts of radio waves re-organizing protons, sparking haemodynamic response for voxel by voxel coding. Drawing on operational neuroscience for military use, Google satellite images of desert terrain at Ourzazate are relayed at 10 images per second to a subject in an fMRI brain scanner, bypassing perception through a direct address to the brain. The subject responds through neural patterning indicating ‘interest’ in certain images. Here, research sponsored by a film production agency in 2020 is addressed to the scanner-subject in the form of a corporate presentation.

2014, still image from Desert Scan, Digital Video w/sound Goldsmiths PhD candidate

2014, Thirteen Episodes, text on moving image Goldsmiths PhD candidate


Suzanne Caines Conceived as a touring exhibition, This project explores the spaces characters and the subsequent From me flows what escape youfromcall time is creation of new temporalities that can lead them to form a different kind of cosmos. The television create of a particular type of temporality the first of acharacters series events by when we begin to craft our practice in order to infiltrate the theory that we come across. Allowing us to be radically open to ready-made temporalities taken graduates and current researchers from the image economy, we paint a picture where we are unable to separate these two worlds and are left nostalgic for different seasons and a new fromof aGoldsmiths, and the version Handmaiden’s Tale as we Slade take a trip around the world. RCA.

Vicki Kerr My project, ‘Airspace - Zones of Fidelity and Failure’ examines the interplay of various agencies and technologies involved in the production of airspace. Using two real world events - a commercial airliner’s (Air New Zealand 901) collision with an Antarctic volcano, killing 257 people in 1979 and the closure of European airspace due to the presence of volcanic ash (eruption of Eyjafjallajokull, Iceland in 2010), I test the tension that exists in airspace, between the scientific, infrastructural systems that we rely on intuitively and a set of economic and personal dependencies created by this infrastructure. With air travel expanding our spatial imaginary, determining the places we identify with and inhabit, I examine our more attenuated relationship with space when a catastrophic event halts or disrupts the mobile life we have come to depend on.

As the modern exhibition experience moves us across the space of the gallery, museum, landscape, computer screen and the printed text, what is lost and what is found in each site? 2014, Thirteen Episodes, text on moving image Goldsmiths PhD candidate

2013, Digital video, 7mins:39secs Goldsmiths PhD candidate


Orly Orbach Emily Rosamond

Wayne Binitie

Timeresponsive myths and traditions the basis of many but if My current research examines points ofare contact between two cultures, flows in time: uprooted, can become out of of sync in a new environment. to celebrate those of character and those economy. Complex interior'How characters in the Sabbath the Polar Regions; is a series of drawings on ice about literature are in technologies for exploring the synthesis of ever-changing immigration of people and their religious a juxtaposition storythat affective states and unpredictable actionspractices, into a singular, imaginedofentity against landscape, which myths areresearch, temporarily These sequential, persists over time. Ininparallel with this my'frozen'. studio practice (which I time-basedas drawings are created using ice a medium and drawing tool: categorize sculpture-fiction) explores theas relationships between sculptures Shards of icecharacters are used as that collects theupend ink, which melts onto the and fictitious in dip-pens narrations, which might – or produce – ways paper. The drawings are traces of the produced by the artist, who has through which their functions might be marks understood. partial control over the image, as the pen disintegrates and melts on the paper. Ice as a drawing surface: Here, ink is inscribed onto semi-sculpted frozen ice block reliefs. Photography is used to capture the image before it melts away. The image is never still. It seeps through the surface of the ice, and like a myth, is never fixed, and always in transition.

Using water based sites as loci, the project explores the spatial concept of atmosphere across modes of composition, installation and performance in order to reconfigure our sensory experience of the built and the un-built environment. For this work, I recorded the sound of cascading water from the swimming pool of One Aldwych, the Strand. This recording was later mixed with original composition scored for Tibetan cymbals, bowls, tabla, flute, harp and strings. In an attempt to create Turner-esque electronic seascapes-digital video was then used to record a swimmer diving into and across the surface of the pool capturing the effervescent light and resultant vortex of ripples.

2014. How to keep the Sabbath in polar-regions. Photographed Ink and Ice drawings 2013, Model for a Screen, Notebooks, Tar, Peebles, Glue and Tinted Translucent Perspex Plinth, 8.5x11x1inches. Royal Collage of Art, MA, CAD Goldsmiths PhD candidate

One Aldwych Sound and Video Installation Slade School of Fine Art, RDP, 2010 Goldsmiths PhD candidate


EmilyOrbach Rosamond Orly

Damian Taylor

My current research examines points ofare contact between two cultures, flows in time: Timeresponsive myths and traditions the basis of many but if those of character and out those of economy. interior characters in uprooted, can become of sync in a newComplex environment. 'How to celebrate literature areintechnologies for exploring the synthesis of ever-changing the Sabbath the Polar Regions; is a series of drawings on ice about affective states and unpredictable actionspractices, into a singular, imaginedofentity immigration of people and their religious a juxtaposition storythat persistslandscape, over time. In with this my'frozen'. studio practice (which I against in parallel which myths are research, temporarily These sequential, categorize as sculpture-fiction) explores theasrelationships between sculptures time-based drawings are created using ice a medium and drawing tool: and fictitious narrations, might – or produce – ways Shards of ice characters are used asindip-pens thatwhich collects theupend ink, which melts onto the throughThe which their functions might bemarks understood. paper. drawings are traces of the produced by the artist, who has partial control over the image, as the pen disintegrates and melts on the paper. Ice as a drawing surface: Here, ink is inscribed onto semi-sculpted frozen ice block reliefs. Photography is used to capture the image before it melts away. The image is never still. It seeps through the surface of the ice, and like a myth, is never fixed, and always in transition.

The first photograph was produced by briefly flashing a torch at a little shiny painting, which reflected the light onto photographic paper - the painting becoming a lens, of sorts. The second photograph used this first print as a negative. It was placed face-down on photographic paper and left outside at night for a while, then brought in and developed.

2014. How to keep the Sabbath in polar-regions. Photographed Ink and Ice drawings 2013, Model for a Screen, Notebooks, Tar, Peebles, Glue and Tinted Translucent Perspex Plinth, 8.5x11x1inches. Royal Collage of Art, MA, CAD Goldsmiths PhD candidate

Damian studied at Chelsea (BA) and the Slade (MA). He lives and works in London. 2013, Untitled (Dinton 25/12/2013, 20:40-21:55) Silver gelatin print (moonlight) 254 x 202 cm


Eleanor Wright Wright Eleanor

Barbara Pfenningstorff

Wright’s work work looks looks towards towards aa current current fixation fixation with with iconographic iconographic architecture, architecture, Wright’s the nature nature of of design design technology technology and and the the spatial spatial relation relation between between body body and and the form. She She uses uses materials materials that that identify identify with with cycles cycles of of industrial industrial processing, processing, form. working with with ‘uncomposed’, ‘uncomposed’, synthetic synthetic materials materials in in their their raw raw states, states, while while working allowing the the aesthetics aesthetics of of process process to to filter filter through. through. The The body body is is represented represented allowing without the the work work necessarily necessarily being being directly directly figurative. figurative. This This absence absence or or without displacement is is generated generated by by referring referring to to the the body body through through continual continual shifts shifts in in displacement scale and and proximity, proximity, in in this this case case taking taking the the form form of of template-like template-like flattened flattened scale versions of of organic organic 3D 3D shapes, shapes, works works which which Wright Wright refers refers to to as as skins. skins. versions Referencing iconic iconic architectural architectural qualities qualities that that range range from from the the heraldic heraldic and and Referencing symbolic to to the the skin skin of of aa building, building, Wright’s Wright’s work work investigates investigates ‘cutting ‘cutting edge’ edge’ symbolic CAD inspired inspired architecture architecture pioneered pioneered and and propelled propelled by by the the likes likes of of Zaha Zaha Hadid Hadid CAD and Frank Frank Gehry. Gehry. and

Through many twentieth century texts of theory runs the idea that spatial framing is a way of containing the temporal. In a moment of stillness, structure can be analyzed and looked at in 'cross-section'. To the human geographer Doreen Massey, this seems to be a gesture which connects with ideas such as structure, system, of distance, the all seeing-eye, totality, completeness and the relation between synchrony and space. Openness and temporality subsequently caused the abandonment of the synchrony/ diachrony binary. The non- recognition of the simultaneity of opened multiplicities that is the spatial can vitiate the project of opening up temporality. Thus, space cannot be the realm of closure, or of static representation. Space is impossible to represent as is time. Any relation that acknowledges the openness of the future entails a radically contingent space-time which is always being made.

FlatMatt plays plays with with the the trickery trickery of of frozen frozen motion motion and and liquidity liquidity (a (a dominant dominant FlatMatt aesthetic at at Zaha Zaha Hadid Hadid Architects), Architects), and and was was an an attempt attempt at at cataloguing cataloguing aa aesthetic particular set set of of transient transient surfaces surfaces and and how how they they might might speak speak of of the the human human particular body in in the the built built environment. environment. body Eleanor lives lives and and works works in in Newcastle Newcastle upon upon Tyne. Tyne. Eleanor Slade School School of of Fine Fine Art, Art, London, London, 2010 2010 Slade Chelsea College College of of Art Art and and Design, Design, London, London, 2007 2007 Chelsea

2013, Collage II (abstract) Coloured Cardboard and Mirrorcard on Foamboard, 100 cm x 80 cm, !! FlatMatt 2013 2013 -- Flexible Flexible welding welding grade grade bronze bronze PVC, PVC, 250cm 250cm xx 400cm 400cm and and FlatMatt 375cm xx 500cm 500cm 375cm

!!

Slade School of Fine Art, RDP, 2010 Goldsmiths PhD candidate


From me flows what you call time catalogue