Three artist daniel lehan, suzane moxhay dan nicholas syines interested in the process of reculture products, as a struggling artist daniel lehan to realize this vision through a serial tv.
Daniel lehan's installation transposes the romantic notion of the artist struggling to realize his vision in a bathetic, ye pervesely difficult, attemp to bring a fantasy of a blooming wilderness (taken from the 1960s children's TV serial "the singing ringing tree") into the objective world. A Video shows lehan 'as' a bear (the bear in the TV serial was itself a prince transformed into a bear, and was always obviously a man in a bear cortume) making flowers, doves and a magical thee, the physical components of the piece on display. The audience is left negotioting between three realities: the objects in the gallery, the original fiction they're tied to, and the new narrautive (whose relationship to truth and fiction is unclear) through which they've been salvaged.
Suzanne moxhay's "cablecar" presents us with an ideal, if dystopian, world of wildernes a spectace. As real as the most convincing of dreams, yet simultaneously suggestive of a missing film that might have married the wertern with tarkovsky' "stalker', cablecar" is even more radical and poignant in its constructedness. Dirived from a three dimensional collage of cut-outs, assembled and re-photographed in the st udio by moxhay using her extensive archive of foud imagery, the piece's transpotion and reorganization an reorganization of photographic material across time and space (both real and illusory), undermines any remaining sense of the objectivity of photograpic landscape, and furthe problematises our attachment to straightforward readings of photograpic space in general.
In nicholas symes' piece, processes of approtiation and distortion take a more physical. And more personal form. Constructed by combining sections of thames driftwood and other discarded timber and then working on the assemblage with hand and machine tools and by other means, symes has reproduced the effect of natural weathering processes on an imaginary unvaled objeck. Typically for symes, the work is a labnu -intensive hidimg in plahn sight that celebrates formal and material qualities in a way we would associate with minimalism, but in a from painstakingly disguised as a found object (and in a double irony, actually created from found materials, the oversupply of the modern world.)
Daniel lehan's installation transposes the romantic notion of the artist struggling to realize his vision in a bathetic, ye pervesely difficult, attemp to bring a fantasy of a blooming wilderness (taken from the 1960s children's TV serial "the singing ringing tree") into the objective world. A Video shows lehan 'as' a bear (the bear in the TV serial was itself a prince transformed into a bear, and was always obviously a man in a bear cortume) making flowers, doves and a magical thee, the physical components of the piece on display. The audience is left negotioting between three realities: the objects in the gallery, the original fiction they're tied to, and the new narrautive (whose relationship to truth and fiction is unclear) through which they've been salvaged.
Suzanne moxhay's "cablecar" presents us with an ideal, if dystopian, world of wildernes a spectace. As real as the most convincing of dreams, yet simultaneously suggestive of a missing film that might have married the wertern with tarkovsky' "stalker', cablecar" is even more radical and poignant in its constructedness. Dirived from a three dimensional collage of cut-outs, assembled and re-photographed in the st udio by moxhay using her extensive archive of foud imagery, the piece's transpotion and reorganization an reorganization of photographic material across time and space (both real and illusory), undermines any remaining sense of the objectivity of photograpic landscape, and furthe problematises our attachment to straightforward readings of photograpic space in general.
In nicholas symes' piece, processes of approtiation and distortion take a more physical. And more personal form. Constructed by combining sections of thames driftwood and other discarded timber and then working on the assemblage with hand and machine tools and by other means, symes has reproduced the effect of natural weathering processes on an imaginary unvaled objeck. Typically for symes, the work is a labnu -intensive hidimg in plahn sight that celebrates formal and material qualities in a way we would associate with minimalism, but in a from painstakingly disguised as a found object (and in a double irony, actually created from found materials, the oversupply of the modern world.)
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