Surfaced: Surface and Materiality in the Screen Environment Jim Cheatle, Alison Goodyear, Alexis Harding, Peter Lamb, Antoine Langenieux-Villard, Donal Moloney, Sarah Kate Wilson Curated by Jim Cheatle Exhibition Dates: 19-27 May 2018 Preview: Friday 18 May 2018, 6.30-8.30pm There exists what we call images of things Which as it were peeled off from the surfaces Of objects, fly this way and that through the air... I say therefore that likenesses or thin shapes Are sent out from the surfaces of things Which we must call as it were their films or bark. Titus Lucretius Carus, c. 99 BC–55 BC Our relationship with the screen and the interface isn’t simply a visual one, it has changed from being a tool that we used at our leisure, to a necessary conduit for social interaction, pavlovian in its schema and invisible in its ubiquity, the screen is the threshold of our dematerialized condition. Painting takes its place in the world alongside and within this dominant way of seeing, reconfiguring our relationship and understanding to what is ‘real’ and tactile. Does this environment create an underlying pressure for artists to make work that is more screenable, quicker to apprehend, less concerned with scale and depth? Or, does it reinvigorate the ‘real’ and the haptic? Can we view work with the same engagement as before, can we still ‘look’ at it in the same way? The artists selected here aren’t necessarily directly concerned with digital dialogues or dematerialisation, however they all have a vested interest in surface and materiality. This exhibition attempts to draw attention to this interest and contextualize it within these broader ideas. - Jim Cheatle, March 2018
Download surfaced.pdf - courtesy Jim Cheatle.
Thames-Side Studios Gallery Thames-Side Studios Harrington Way, Warspite Road Royal Borough of Greenwich London SE18 5NR. Thames-Side Studios Gallery open Thursday-Sunday 12-5pm during exhibitions and by appointment. For general Thames-Side Studios Gallery enquiries please email firstname.lastname@example.org Images: Alexis Harding, Unfixed Descendants, oil and gloss paint on aluminium, 79 x 120cm, 2016; Peter Lamb, The Same in Animal Form, digital print on synthetic canvas, aluminium subframe, 280 x 190cm, 2017; Donal Moloney, Reliquary, acrylic on canvas, 47 x 59cm, 2014; Sarah Kate Wilson, Crabstep, stretched canvas with mixed media, 95 x 60 x 12cm, 2016; Alison Goodyear, Gloopy droopy, acrylic, ink and oil paint on silk and canvas, 100 x 80 x 4cm, 2017; Antoine Langenieux-Villard, Veduta, acrylic, ink on dyed and sewn materials, 140 x 200 x 34 cm, 2017; Jim Cheatle, Fragmentation No.6, paper cast surface (resin), pigments, watercolour paper, indian ink, inkjet prints, MDF, mirror polished aluminium, 61 x 45 x 4cm, 2014. All images courtesy of the artists, 2018.