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PRESS RELEASE 

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Rotating Edible Object

2nd – 10th March 2018

 

 

This exhibition presents a selection of rotating objects made by Rosie Carr, Natalie Kynigopoulou, Edward Nowill, Anna Reading and James Rollo.

 

1. Rotating object made to spring open the shutter of a camera[1]

 

1. Rotating object you can eat - presented artistically[2]

 

1. Soft object circling everything[3]

 

1. Drawn rotating object whose inside-out-ness is rotating from inside to outside on a digital loop[4]

 

1. Rotating object bought forward in time and in a different format, a seed of an idea from something I found and now I’ve changed it, and altered it for you, a feedback loop from the past is presented here for you to imagine how these things need each-other, and squeeze together, and are rotating in an ordered fashion, orbiting each other as ‘moving images’ ecclesiastical folding panels, an altar-piece[5].

 

1. Using objects as ‘portals’ to another place or idea – the objects presented, (screen) (rope) (drawing) (photocopies) (glove) (potato) (etc) in this case act as a control panel, linking to, or elaborating on, other ‘objects’ somewhere else – things, thoughts.

 

1. a holding ground in circular space

 

1. Squishy softness

 

1. Is important

 

1. Defining an art practice as a magick practice, ie.

 

1. ‘autonomous magick’ by which I mean an idiosyncratic indexing of themes, materials, objectives and collaborations within an artists’ practice and across time. This can be physical, in the sense of actual material convergence, eg. a sculpture made up of reconstituted older (abandoned) work, or manifest as a set of ideas, a layering of meaning which is only made possible by the specific ingredients of personal experiences and thought processes.

 

1. storytelling as a method of stimulating objects and their histories, and as a tool to glean information from these artefacts – whether factual or fictional.

 

1. Mmmm soft / sticky - an objects trajectory through time, the relationships between the material and ethereal detritus it picks up along the way. An object is always an object, but it’s time dimension acts as a magnet where cultural debris accumulates and ‘sticks’ to it; building up layers of meaning.

 

1. The pursuit to uncover the hidden fourth dimension of objects through their personal narratives calls into question the fallibility of ‘fact’ and fiction, and sucks and pushes the soft membrane existing between these two states.

 

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[1] Portagram time lapse unit, 2011, Edward Nowill

In the instrument's current configuration, the gram can play a single side of a 12" record lasting for about 5minutes this being 400 turns on the turntable at standard 78rpm groove pitch-400 impulses being enough to work one full spring wind on an average 8mm cine camera lasting 30 seconds @ 16 frames per second. The gramophone speed governor allows a single frame to be triggered from 0.75 of a second to one frame every 2.5 seconds-enough for most time lapse purposes. More complicated arrangements are possible but redundant in current circumstances on account of sophisticated apparatus already being available. Time-lapse photography has multiple applications, and even in its simplest form here, helps us to understand the world better by making visible that which is invisible [eg traffic analysis & the musical/waveform harmonics contained therein]   

 

[2] Potato, 2017, Natalie Kynigopoulou

 ‘Potato’ was originally conceived as part of the multimedia installation ‘i caress you, you caress me, without unity’ (2017) by Natalie Kynigopoulou. The work explored the rhythms and patterns that occur when various mediums intersect and erratically loop. The role of the protagonist within Kynigopoulou’s practice is often embodied by fictional and nonhuman forms; for example here - where the humble potato takes the forefront.

 

[3] Potential, 2017, James Rollo

A new potential narrative for this would-be electrical cord (or rope). The orange rope is masquerading as an electrical chord, something that's normally hidden from few. It's had its usage changed by having both ends attached to plugs, which are plugged into two different electrical sockets, both of which are turned on. The rope/electrical chord has been taken out of its original context. Displaced, if you will. What does it mean now that it has been displaced form its 'normal' human function? What even is it now? The trajectory of its history has been altered. This is a way of giving the object agency outside of its prescribed usage or meaning. 

 

[4] Glove, 2017, Anna Reading

Glove is a work that always exists in another dimension. A 2d drawing depicts a 3d object in motion, while the light of the projector appears to hover immaterially, dissolving into its spatial surroundings. Its motion places the object into the 4th dimension. Any object that exists, from the moment it becomes until the time it disappears, has duration. Is it possible that motion describes a higher spatial dimension, perceptible to us as time?

In geometry the inside out glove is an Enantiomorphic object. This is because right and left hands are identical but asymmetrical. A hand floating in space needs a body to attach to before it can be understood as left or right. The loop here promises an arrival, but thwarts any sense of completion, – the temporary triumphs in a continual feedback loop.

 

[5] Potato Band / Vanishing Point Installation, 2018, Rosie Carr

 

Potato Band is a project conceived of Natalie Kynigopoulou’s enjoyment of the humble potato and Rosie Carr’s love of Natalie’s enjoyment of the humble potato. Making a ‘potato circuit’ with zinc and copper plates, a capacitator and transistors, we have given the potato a voice by amplifying its life force. This is an inauguration of experimental sounds which we hope to develop into a language – a starting point for a series of performances. The installation which surrounds the performance is a presentation of Rosie Carr’s current research into vanishing point perspective in the work of Paulo Uccello (b. 1397). According to myth, Uccello was obsessed by perspective and would stay up all night in his study trying to grasp the exact vanishing point. While his contemporaries used perspective to narrate different or succeeding stories, Uccello used perspective to create a feeling of depth in his paintings.