Echo & Narcissus
29 Jan - 26 Feb 2011
ECHO & NARCISSUS
29 January - 26 February 2011
Echo & Narcissus is an exhibition of new works by Glasgow based artists Colin Lindsay, Carrie Skinner and Hirofumi Suda. Through independent exploration, these works naturally converge at the transformative and distortive effects upon narrative in memory or in illusionary reproduction.
Colin Lindsay graduated from Duncan of Jordanstone College of Art in Dundee and lives and works in Glasgow. He has previously shown in various artist organized shows in Dundee and Edinburgh and in solo and group shows at The Collective and Stills galleries.
The sculpture Still Rivers resulted from an interest in the formal properties of a low platform and makes reference to one of the seminal works of minimal art. However the sculpture is imbued with something of the landscape, infecting or infusing the rigour and austerity of minimalism and entwining the notions of fluidity and stillness.
Carrie Skinner BA graduated from The Glasgow School of Art, 2009. After graduating she became founding director of The Mutual and has recently joined the Transmission Committee. Exhibitions include Little Magazine at the +44 141 Gallery, Glasgow, 2010 and Some People Deserve Everything They Get at The Royal Standard, Liverpool 2009. She has received the support of The Hope Scott Trust for the production of this new body of work.
To be ordered and contained, the irrational and unexplained must be opposed by their opposite: reason. Such rationalisations are evident in the self imposed rules and logical constructs of faith, mysticism and superstition. Framed by the rational logic of architecture, pairs of Acolytes conduct a series of reasoned and ritualised expressions. Concealed within the signifiers that comprise this scene, a series of deliberately rational devices are orchestrated to reveal and examine the profound necessity and paradoxical absurdity of the human disposition towards faith structures.
There is no transgression without prior limit; any order exists only to be disobeyed. Despite efforts to illuminate the inexplicable by means of explanation, binaries are founded upon opposition and division, and the two battle until they undo each other. An arched portal is a flimsy characterisation that mimics the structural logic of architecture and is inhabited by players without an identifiable focus, theatrically acting out the motions of an intimate disruption. Locked in this endless and unsatisfactory pursuit of the rational, the artifice of the now fantastical and elaborate standards of ritual can only paper over the gaps in our knowledge. Fragile reassurance seemingly only found in the leap of faith that is the suspension of disbelief.
Hirofumi Suda, MFA graduate from Glasgow School of Art 2009, recently completed a two month long residency, The distance between our minds and thoughts equals the distance between our words and mouths with Jan Verwoert at the Banff Center in Canada. Before that he completed a month long residency at CCA creative Lab, Glasgow and three day workshop An Eye, Two Eyes and Three Eyes with Irene Kopelman and Mariana Castillo Deball at CAAM, Las Palmas de Gran Canaria, Spain. His most recent exhibitions include, The Accumulation of order Victor&Hester Glasgow, 2010 and Invisible Square Transmission Gallery Glasgow, UK 2009.
The interest in both historical and contemporary narratives: such as, folklore, myth, biblical story, philosophy, literature, comic, movie, animation... is the main drive within this work. There are endless parodies of story from time to time, and place to place. Narratives are being presented in cave painting, fresco, paper scroll, mandala, TV, video game, movie theatre, diorama, I-Max theatre, planetarium, and so on. Referred to as “the narrative machine”. In the cycle of consumerism, narratives we hear, read, watch, touch, smell and eat create both fiction and reality of perception. The work deals with paradox between narrative and perception. However the concern is not just creating / projecting an alter story of parody or yet another “narrative machine” in a linear form. Instead it is arranging a situation with fragile fragments; indefinite story and perception, personification and fact, illusion and disillusion. As a result, the work aims to orchestrate and de-orchestrate a play of imagination; seeking and wondering of these stories and narrative machines in a non-linear format.
29 January - 26 February 2011
Echo & Narcissus is an exhibition of new works by Glasgow based artists Colin Lindsay, Carrie Skinner and Hirofumi Suda. Through independent exploration, these works naturally converge at the transformative and distortive effects upon narrative in memory or in illusionary reproduction.
Colin Lindsay graduated from Duncan of Jordanstone College of Art in Dundee and lives and works in Glasgow. He has previously shown in various artist organized shows in Dundee and Edinburgh and in solo and group shows at The Collective and Stills galleries.
The sculpture Still Rivers resulted from an interest in the formal properties of a low platform and makes reference to one of the seminal works of minimal art. However the sculpture is imbued with something of the landscape, infecting or infusing the rigour and austerity of minimalism and entwining the notions of fluidity and stillness.
Carrie Skinner BA graduated from The Glasgow School of Art, 2009. After graduating she became founding director of The Mutual and has recently joined the Transmission Committee. Exhibitions include Little Magazine at the +44 141 Gallery, Glasgow, 2010 and Some People Deserve Everything They Get at The Royal Standard, Liverpool 2009. She has received the support of The Hope Scott Trust for the production of this new body of work.
To be ordered and contained, the irrational and unexplained must be opposed by their opposite: reason. Such rationalisations are evident in the self imposed rules and logical constructs of faith, mysticism and superstition. Framed by the rational logic of architecture, pairs of Acolytes conduct a series of reasoned and ritualised expressions. Concealed within the signifiers that comprise this scene, a series of deliberately rational devices are orchestrated to reveal and examine the profound necessity and paradoxical absurdity of the human disposition towards faith structures.
There is no transgression without prior limit; any order exists only to be disobeyed. Despite efforts to illuminate the inexplicable by means of explanation, binaries are founded upon opposition and division, and the two battle until they undo each other. An arched portal is a flimsy characterisation that mimics the structural logic of architecture and is inhabited by players without an identifiable focus, theatrically acting out the motions of an intimate disruption. Locked in this endless and unsatisfactory pursuit of the rational, the artifice of the now fantastical and elaborate standards of ritual can only paper over the gaps in our knowledge. Fragile reassurance seemingly only found in the leap of faith that is the suspension of disbelief.
Hirofumi Suda, MFA graduate from Glasgow School of Art 2009, recently completed a two month long residency, The distance between our minds and thoughts equals the distance between our words and mouths with Jan Verwoert at the Banff Center in Canada. Before that he completed a month long residency at CCA creative Lab, Glasgow and three day workshop An Eye, Two Eyes and Three Eyes with Irene Kopelman and Mariana Castillo Deball at CAAM, Las Palmas de Gran Canaria, Spain. His most recent exhibitions include, The Accumulation of order Victor&Hester Glasgow, 2010 and Invisible Square Transmission Gallery Glasgow, UK 2009.
The interest in both historical and contemporary narratives: such as, folklore, myth, biblical story, philosophy, literature, comic, movie, animation... is the main drive within this work. There are endless parodies of story from time to time, and place to place. Narratives are being presented in cave painting, fresco, paper scroll, mandala, TV, video game, movie theatre, diorama, I-Max theatre, planetarium, and so on. Referred to as “the narrative machine”. In the cycle of consumerism, narratives we hear, read, watch, touch, smell and eat create both fiction and reality of perception. The work deals with paradox between narrative and perception. However the concern is not just creating / projecting an alter story of parody or yet another “narrative machine” in a linear form. Instead it is arranging a situation with fragile fragments; indefinite story and perception, personification and fact, illusion and disillusion. As a result, the work aims to orchestrate and de-orchestrate a play of imagination; seeking and wondering of these stories and narrative machines in a non-linear format.