http://www.angus-hughes.com www.angus-hughes.com Mon, 30 Apr 2012 11:30:23 +0000 http://www.angus-hughes.com en http://www.angus-hughes.com/Phantoms http://www.angus-hughes.com/following/angus-hughes.com/Phantoms Mon, 30 Apr 2012 11:30:23 +0000 www.angus-hughes.com 2716374 Curated by Julian Brown and Claude Vergez Julian Brown, Nick Fox, Robert Holyhead, Paula Kane, Ana Prada, Miho Sato, Neal Tait, Claude Temin-Vergez Private View: Friday 11 May, 6-9pm Exhibition Continues: 12 May – 3 June Friday to Sunday 12-6pm, or by appointment <img src="http://payload20.cargocollective.com/1/3/116300/2716374/Thumb2_560.jpg" width="560" height="394" width_o="618" height_o="435" src_o="http://payload20.cargocollective.com/1/3/116300/2716374/Thumb2_o.jpg" data-mid="16535525" border="0" align="left"/> According to the art critic Jan Verwoert, artists in their studio are like Joan of Arc hearing voices and drawn to higher callings. This show is looking at the work of a group of artists whose practice is inhabited and fed by history, the presence of their heroes, peers and other monuments of the Art Pantheon. These ‘phantoms’ are particularly present within a painting context where the weight of tradition is overbearing. Sometimes consciously invited, sometimes fortuitous or accidental these presences in the studio provide fruitful discussions that reflect a problematic at work. The work exhibited here is not the expression of a movement or genre but rather a selection by a common sensitivity. The show should reflect its varieties and likeness, harmony and accidents. It will provide a meeting of artistic strategies and instigate dialogue. Neal Tait's work makes us glimpse into a strange world of narratives. His images seem to generate in front of our eye; looking at Tait’s work we are aware of the way they are made as well as their narrative in equal measure. The painterly qualities of his images provide open-ended possibilities within the picture plane where the presences at play seem to act scenes of a common human experience. Claude Vergez’s work implies doubling, or twinned forms, where the surface operates as both an articulated field which mirrors itself in various form of symmetries, and a place where individual refined traceries can be both lost and unravelled in the process of looking. Vergez develops forms that traverse identifications: from sexual connotation, through Baroque ornament, to formations of nature. Both the surface and image are, in this sense, metamorphic in their nature with forms constructed from a linearity that traces a force across the canvases. Miho Sato’s works talks to us in a way that is at once familiar and foreign. Her images are constructed from popular images and somehow filtered through her personal lens that gives them qualities akin to the great tradition of painting as well as an immediacy as ease with today’s visual landscape. Ana Prada’s work is deceptive. Playing on notions of symmetry and formal arrangement, a double reading operates when one is confronted by it close up. Familiar objects are perverted and coerced into behaving against their nature. The effect is all the more shocking that our mind can’t put together their function (once discovered) and what it is seeing. The result is gripping our imagination by creating a ‘3rd place’ for this strange proposition between function and fantasy. Paula Kane makes imaginary fantastical landscape paintings. Devoid of human presence her landscape are an invitation to wander and explore an age-old genre giving it a fresh twist. On closer inspection one becomes aware of their construction. Borrowing elements from old master’s painting Kane creates personal compositions that exists between tradition and contemporary fairy tales. This work is an investigation into painting’s many varied visual languages and her understanding of it. She uses her audiences familiarity with these languages to push the possibilities of what a ‘proper’ landscape painting might be. As a result these paintings hover between appearing exotic to domestic, historical to ubiquitous and from naive to informed. Robert Holyhead makes abstract paintings in relation to small watercolour studies. The watercolours are made in response to his ongoing visual observation of the formal devices used to represent the abstract language within painting. The canvas works arrive from a process of addition and subtraction based on the interface between the watercolour studies, inherited abstract signs that already exist and the responsive decisions that adjust the balance and poise of these components whilst painting. Resisting the tradition of compositional outcome (each new work being informed by the previous) the work allows the activity and language to remain precarious and the surface convincing. Nick Fox’s paintings, hide a labyrinth of disparate and sometimes conflicting meanings; ‘a rubble of distinct and unrelated signifiers’ - simultaneously clear and elusive. My paintings are camouflaged as decorative objects or planes of uninflected colour, drawing on Neoclassicism, Victorian visual culture and subcultural symbology to reveal imagery from contemporary pornography that defies the viewer’s initial expectation of an encounter with such seductive objects. Julian Brown’s handmade geometry sits awkwardly between historical references; ambivalent to geometric abstraction or neo-expressionism the practice explores the tensions between order and chaos, structure and collapse, expression and control. Constrained by rules and procedures games are set up, systems created, obstacles overcome and barriers either escaped from or painted into. The interplay between geometric order and gestural freedom creates an animated state where the paintngs become both vulnerable and inventive. http://www.angus-hughes.com/John-Wynne http://www.angus-hughes.com/following/angus-hughes.com/John-Wynne Sun, 18 Mar 2012 22:46:59 +0000 www.angus-hughes.com 3003154 Installation no. 2 for high and low frequencies Curated by Fieldgate Gallery Private View: Thursday 5 April, 6-9pm Exhibition Continues: April 7th – April 29th Friday to Sunday 12-6pm, or by appointment <img src="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 003edit_560.jpg" width="560" height="344" width_o="2048" height_o="1258" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 003edit_o.jpg" data-mid="16715310" border="0" align="left"/> This is John Wynne’s first solo show in London since his acclaimed installation for 300 speakers, pianola and vacuum cleaner at Beaconsfield Gallery in 2009 (subsequently shown at the Saatchi Gallery). From what Charles Darwent in the Independent described as the ‘frail monumentalism’ of that work to the delicate intimacy of Hearing Loss, which uses only the self-induced feedback from 6 hearing aids left behind when his father died, Wynne’s work invariably draws our attention to the act of listening. As Brandon LaBelle writes in the Journal of Visual Culture, Wynne’s installation practice ‘captures the inherent promiscuity of sound to cross over between inside and outside environments, ultimately creating a sense of immediacy and also intrusion. Wynne subtly underscores how sound and listening may create points of unexpected contact, sudden awareness, and charmed resonance, to undo the lines between what we imagine as public and private. His [work] delivers a considered noise that puts disparate elements into ambient conversation.’ The new site-specific installation for Angus-Hughes and Fieldgate grows in part from ideas John began working with while doing sound for a theatre production in Toronto: ‘I don’t normally work in theatre, but I was promised enough creative freedom to make it an interesting challenge. I decided that the best way to allow room for the actors’ voices but still make the sound a powerful presence was to occupy the frequencies well above and below those of the human voice. I was also interested in exploiting the phenomenon of ‘beating’, which occurs when tones of slightly different pitch are played at the same time and alternately reinforce and cancel each other out in rhythmic patterns that can be manipulated by changing the relative frequencies, allowing me to manipulate the atmospheric tension in a continuous but almost sub-conscious way.’ These ideas led to Installation no. 1 for high and low frequencies at the Rochelle School Gallery in 2011. This work also built on ideas about the relationships between interior and exterior sound explored in the installation for 300 speakers. Low tones were tuned to the resonant frequencies of the space and both low and high sounds were created in situ to reflect specific attributes (sometimes timbre, sometimes pitch or rhythm) of the existing sound environment – not by imitating or sampling, but by creating sounds that seem to either anticipate or temporally extend the indeterminate ambient soundscape. The effect is to make the walls of the space seem acoustically translucent, drawing the sounds from outside into the space and making them part of the piece to the extent that visitors often can’t tell if sounds are coming from within the gallery or from outside. Working with very low frequencies also offers the opportunity to discover what sounds the building itself can contribute when stirred by long wavelengths that are more felt than heard. fieldgategallery@gmail.com www.fieldgategallery.com Sponsors: <img src="http://payload35.cargocollective.com/1/3/116300/3003154/mc2_logo_modern166.jpg" width="166" height="68" width_o="166" height_o="68" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/mc2_logo_modern166_o.jpg" data-mid="15451196" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/3/116300/3003154/TiMaxSound Logo B - W166.jpg" width="166" height="79" width_o="166" height_o="79" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/TiMaxSound Logo B - W166_o.jpg" data-mid="15451197" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/3/116300/3003154/Visaton.gif" width="166" height="36" width_o="166" height_o="36" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/Visaton_o.gif" data-mid="15451199" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/3/116300/3003154/FUNKTION-ONE flat166.jpg" width="166" height="19" width_o="166" height_o="19" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/FUNKTION-ONE flat166_o.jpg" data-mid="15451194" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/3/116300/3003154/LCC_POS_COLOUR166.jpg" width="166" height="138" width_o="166" height_o="138" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/LCC_POS_COLOUR166_o.jpg" data-mid="15451195" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/3/116300/3003154/Xta166.jpg" width="166" height="50" width_o="166" height_o="50" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/Xta166_o.jpg" data-mid="15773736" border="0" align="left"/> Photographs by John Wynne <img src="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 001 copy_560.jpg" width="560" height="344" width_o="850" height_o="523" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 001 copy_o.jpg" data-mid="16715329" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 002 copy_560.jpg" width="560" height="391" width_o="850" height_o="594" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 002 copy_o.jpg" data-mid="16715330" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 003 copy_560.jpg" width="560" height="348" width_o="850" height_o="529" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/Wynne_Installation for high and low frequencies 003 copy_o.jpg" data-mid="16715334" border="0" align="left"/>}<img src="http://payload35.cargocollective.com/1/3/116300/3003154/Angus-Hughes opening 001 copy_560.jpg" width="560" height="363" width_o="850" height_o="551" src_o="http://payload35.cargocollective.com/1/3/116300/3003154/Angus-Hughes opening 001 copy_o.jpg" data-mid="16715450" border="0" align="left"/> http://www.angus-hughes.com/UNTITLED-REPRETITION http://www.angus-hughes.com/following/angus-hughes.com/UNTITLED-REPRETITION Fri, 10 Feb 2012 11:47:55 +0000 www.angus-hughes.com 2782071 Curated by Fieldgate Gallery Sarah Rose Allen – Clare Goodwin – Dan Hays - Helene Kazan – Charles Mason Private View: Friday 24 February, 6-9pm Exhibition Continues: February 25th – March 18th Friday to Sunday 12-6pm, or by appointment <img src="http://payload24.cargocollective.com/1/3/116300/2782071/resized 560.jpg" width="560" height="448" width_o="560" height_o="448" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/resized 560_o.jpg" data-mid="14119990" border="0" align="left"/> With repetition embedded within their modus operandi, these artists appear to be paying a more respectful acknowledgment to their Modernist predecessors. Some use repetition in series, some as motifs, while for others it is simply a form of process in the making of the work. However, on closer inspection, there is mischief to be had, as unexpected references inform their practices. From domesticity in the form of 70s wallpaper designs to architectural systems; from an inquiry into optics to inversions of the monumental, there is an eclectic range of concerns amongst these artists that ruptures the surface appearance of deference. Sarah Rose Allen’s video projection, ‘cup’, examines our relationship with the relentless passing of time and our attempts to hold on to or wish away particular moments. The work creates a parallel world in which time passes, but the usual markers of that progress (the filling up of the cup) do not take place: an attempt is being made to halt time, to capture ‘now’. The atmosphere is ambivalent - is this a pleasingly fascinating frozen-but-moving image, or an eerie, unnatural occurrence whereby the failure to let go of a moment invokes a state of Beckettian absurdity in which no amount of work gets the job done? Clare Goodwin’s purposely-skewed logic of formal compositions describes the rub between the design impact and social significance of motifs as markers of a particular period, specifically the 1970s and 1980's. Through the careful composition of colour and line, many of her works convey a feeling of limitation and movement, conformity and dissent that cleverly conjures that period’s conjunction of tight social codes with immense societal upheaval. Painted thinly and with extreme precision, often leaving large sections of the canvas blank, what comes to the fore is the delicate relationships between forms, the (mis)alignments and chance encounters between angles, straight edges and curves. Old style first names as titles such as Andrew, Gareth, Helen, conveys the notion that her paintings are also a form of abstracted portraiture and sets spinning narrative fictions featuring the eponymous characters and their daily lives. There is a gap between the mute abstraction of some of Goodwin’s work and the stories she ignites by way of the works’ titles. These don’t explain the work, but open it out to imaginary scenes like a book opening out its pages. Clare Goodwin appears courtesy of Rotwand Gallery, Zürich. Dan Hays constructs paintings that question the screen interface, using low-resolution images gleaned from the Internet. Increasingly high definition and contrast ratio configures an ever more passive observer, enthralled by illusions of optical verisimilitude. With touches and daubs of paint, touch-screen technology is offered a flawed gestural counterattack. Connections to the history of painting, between the classical and the sublime, or Impressionism and Symbolism, are not explicit, but are shown to be a latent quality of any fugitive frame of a You-Tube video or landscape webcam. Tending towards abstraction through disintegration, a broader sense of longing for something lost is suggested. The digital screen’s icy crystalline matrix, seamless deliverer of watery flows of information, is rendered by pigmented oily mud on a weave of fabric – a paradoxical visual realm where illuminated pixel and physical brushstroke coalesce. Helene Kazan’s Where Drawing meets Sculpture, appears to operate as a simple exploration of the optics within two and three dimensional repetitive drawing. However the tension created by its materiality and construction, mark its subversive ambition to demarcate and occupy the space it is situated in within the gallery, confronting the viewer simultaneously with a sense of curiosity and discomfort as it plays out a combination of these opposing roles. Helene’s practice is informed by her experience of growing up as a child in Beirut, and although this work’s monumentality is often interpreted as a modernist reference, its concrete physicality is in fact a reference to the materiality of the architectural landscape of Lebanon. The visible quivering friction between the contrasting 2D and 3D angled elements enhance its precarious nature, and allude to a complex embedded political narrative. 'Charles Mason’s works often begin with a charged but mutable image. In the case of Happy or Sad, the image of a mouth, a clown’s perhaps, which, when looked at from different angles or reflected in the accompanying Perspex, may seem happy, or sad? Similarly, if the image of a tear drop might have given rise to Hung up II, a practical problem arises of how to match the flatness of pieces of tile with the fluid curvature of the concrete? Mason’s sculptures are all marked by a tension between the materiality of the objects he uses and the plasticity of the feeling they evoke. Mason’s work deals with the representation of the self presented, as it were, on a theatre of inter-subjectivity…how to hold on to one’s sense of oneself given that identity is necessarily a fragile arrangement of social conventions, a compromise negotiated within the recesses of the psyche.' Guillaume Condello Charles Mason appears courtesy of Cortex Athletico Gallery. fieldgategallery@gmail.com www.fieldgategallery.com Photographs by Iavor Lubomirov and Charles Mason Installation views: <img src="http://payload24.cargocollective.com/1/3/116300/2782071/00 Installation 1_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/00 Installation 1_o.jpg" data-mid="16714681" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/00 Installation 3_560.jpg" width="560" height="375" width_o="600" height_o="402" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/00 Installation 3_o.jpg" data-mid="16714683" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/00 Installation 4_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/00 Installation 4_o.jpg" data-mid="16714685" border="0" align="left"/> Sarah Rose Allen <img src="http://payload24.cargocollective.com/1/3/116300/2782071/01 Sarah Rose Allen_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/01 Sarah Rose Allen_o.jpg" data-mid="16714686" border="0" align="left"/> Clare Goodwin <img src="http://payload24.cargocollective.com/1/3/116300/2782071/02 Clare Goodwin 3_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/02 Clare Goodwin 3_o.jpg" data-mid="16714688" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/03 Clare Goodwin 1_560.jpg" width="560" height="352" width_o="600" height_o="378" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/03 Clare Goodwin 1_o.jpg" data-mid="16714691" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/04 Clare Goodwin 2_560.jpg" width="560" height="376" width_o="600" height_o="403" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/04 Clare Goodwin 2_o.jpg" data-mid="16714693" border="0" align="left"/> Dan Hays <img src="http://payload24.cargocollective.com/1/3/116300/2782071/05 Dan Hays 1_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/05 Dan Hays 1_o.jpg" data-mid="16714695" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/06 Dan Hays 2_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/06 Dan Hays 2_o.jpg" data-mid="16714697" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/07 Dan Hays 3_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/07 Dan Hays 3_o.jpg" data-mid="16714699" border="0" align="left"/> Helene Kazan <img src="http://payload24.cargocollective.com/1/3/116300/2782071/08 Helene Kazan_560.jpg" width="560" height="448" width_o="670" height_o="536" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/08 Helene Kazan_o.jpg" data-mid="16714708" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/09 Helene Kazan 2_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/09 Helene Kazan 2_o.jpg" data-mid="16714709" border="0" align="left"/> Charles Mason <img src="http://payload24.cargocollective.com/1/3/116300/2782071/10 Charles Mason 4_560.jpg" width="560" height="419" width_o="600" height_o="449" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/10 Charles Mason 4_o.jpg" data-mid="16714710" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/11 Charles Mason 3_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/11 Charles Mason 3_o.jpg" data-mid="16714711" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/12 Charles Mason 2_560.jpg" width="560" height="399" width_o="600" height_o="428" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/12 Charles Mason 2_o.jpg" data-mid="16714712" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/13 Charles Mason 2.1_560.jpg" width="560" height="388" width_o="670" height_o="465" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/13 Charles Mason 2.1_o.jpg" data-mid="16714716" border="0" align="left"/><img src="http://payload24.cargocollective.com/1/3/116300/2782071/14 Charles Mason 1_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/14 Charles Mason 1_o.jpg" data-mid="16714717" border="0" align="left"/> Charles Mason and Dan Hays <img src="http://payload24.cargocollective.com/1/3/116300/2782071/15 Installation 2a_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload24.cargocollective.com/1/3/116300/2782071/15 Installation 2a_o.jpg" data-mid="16714719" border="0" align="left"/> http://www.angus-hughes.com/FORM-MALFUNCTION http://www.angus-hughes.com/following/angus-hughes.com/FORM-MALFUNCTION Fri, 06 Jan 2012 15:53:35 +0000 www.angus-hughes.com 2557274 Curated by Fieldgate Gallery Cedric Christie - Alasdair Duncan - Gerard Hemsworth - Karen Henderson - Ben Woodeson Private View: Friday 20 January, 6-9pm Exhibition Continues: January 21st – February 12th Friday to Sunday 12-6pm, or by appointment <img src="http://payload12.cargocollective.com/1/3/116300/2557274/thumbnail 560.jpg" width="560" height="560" width_o="560" height_o="560" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/thumbnail 560_o.jpg" data-mid="12912901" border="0" align="left"/> The American architect Louis Sullivan’s now famous maxim ‘Form follows function’ was one of the primary principles of Modernist architecture and design, and contributed to the geometric reductivism of Modernist painting and sculpture. This language has been revisited a number of times since, but recently artists have responded more irreverently. The result has been to allow very non-Modernists elements into the paradigm: fantasy, absurdity and humour, to re-claim and enrich this once hallowed ground. Some of the artists begin with function and allow its failure to become its form, while others create forms that can only aspire to function. Cedric Christie’s Phoenix, a giant curvature comprising of a steel exoskeleton and snooker ball anatomies, brazenly wraps itself around the space that it occupies the playfulness of Christie's materials and also suggests the works' debasement of the sacrosanct ideology of Modernist sculpture. De-mythologised, the piece lurches onto the horizontal; a movement from wall to floor that is a literal and figurative 'bringing down' of monumental form. In the work that is made of scaffold tubes the aim is to remove scale from a material that is associated with a particular scale and development. To allow the form to become a support for colour and the surface to become space. Is the colour holding the shape, or the shape holding the colour. Cedric Christie appears courtesy of Flowers Gallery, London. Alasdair Duncan makes Signs for the Future (and designs for such). His signs are stand-ins, signifying things that do not yet exist: not futurological predictions, rather they are emblems of the not yet imagined. Duncan produces colour-saturated graphics applied across a variety of media. Duncan is broadly interested in making art that addresses the unknown and unknowable not without ambivalence, but as presenting positive, progressive opportunity. Duncan’s pieces are titled in the language of Je Zaum. Zaum (pronounced Za-oom) was a language coined by the Russian Futurist poets Velimir Khlebnikov and Alexei Krucheykh, combining the Russian prefix за “beyond, behind” and the noun ум “the mind, nous”. Zaum is described as a universal language, a language of indeterminate meaning that stands in for thoughts yet to be conceived. The prefix Je will have a meaning in Je Zaum, and marks a distinction between Je Zaum and Zaum. Karen Henderson’s current work has been informed by research into visual strategies for spatial occupation. She has been looking at camouflage as strategies of design which are intended to complicate how an object in an environment is read, misread or visually erased in order to understand how objects can occupy space in more tenuous and temporal ways. Henderson is interested in the point where an object integrates with a space and how this succeeds or fails. This body of work includes a group of objects which draw on the Dazzle camouflage designs employed during WWI to break up the visual coherence of large targets. Other works consider visibility in relation to dummy objects and decoys and the group of Relief objects addresses the wall as a physical barrier and visual obstruction. Henderson is interested in how objects take up space and interrupt our visual field and in how much effort is required for this to happen over longer periods of time. The investment necessary seems to have political potential and how space is occupied and claimed and how objects are implicated in these actions, are central questions. Gerard Hemsworth’s paintings are disconcerting and provocative in an odd, slightly uncomfortable way. He brings together signs and representations derived from modernist art alongside and integrated with signs and representations of cartoon like images derived from children’s colouring in books. Presenting pictorial and ideological contradictions to felicitate critical engagement. These representational works have the familiarity of both modernist painting and storybook pictures. He has developed a project that has allowed him to undermine the seriousness of high modernist art and cultural values, whiles at the same time providing a space that questions its possibility. His paintings are both insistent and subversive and question the values and assumptions that the viewer brings to the work. Gerard Hemsworth appears courtesy of Laurent Delaye, London. Ben Woodeson’s works are deliberately confrontational; the pieces confront both the viewer and the exhibiting institution with their real or implied activity and consequences. The works are performative; they inhabit a particular moment of possible action and subsequent reaction. Their physicality aims to instigate an intense and visceral relationship with the viewer and the gallery architecture. Threatened ripples of consequence are sent throughout the sculptures and audience alike. Manipulating everyday materials within a space, the works keep the viewer poised in a state of slight suspense, challenging them to respond to a unique and evolving environment of cause and effect. The works spin, roll, wobble, fall, flick, collapse, shatter and even ignite… but when? The control systems are automatic and random, the works are not equipped with the ability to react to each other or to the presence of viewers. Since 2009 Woodeson has been making the overtly confrontational Health and Safety Violation series; some works are deliberately dangerous, others only sound it… fieldgategallery@gmail.com www.fieldgategallery.com Photographs by Nancy Elser Installation Views: <img src="http://payload12.cargocollective.com/1/3/116300/2557274/01 Installation_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/01 Installation_o.jpg" data-mid="16657064" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/02 Installation_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/02 Installation_o.jpg" data-mid="16657065" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/02 Installation 2_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/02 Installation 2_o.jpg" data-mid="16657740" border="0" align="left"/> Cedric Christie <img src="http://payload12.cargocollective.com/1/3/116300/2557274/03 Cedric Christie_560.jpg" width="560" height="239" width_o="670" height_o="286" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/03 Cedric Christie_o.jpg" data-mid="16657066" border="0" align="left"/> <img src="http://payload12.cargocollective.com/1/3/116300/2557274/04 Cedric Christie_560.jpg" width="560" height="456" width_o="600" height_o="489" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/04 Cedric Christie_o.jpg" data-mid="16657067" border="0" align="left"/> Alasdair Duncan <img src="http://payload12.cargocollective.com/1/3/116300/2557274/05 Alasdair Duncan_560.jpg" width="560" height="388" width_o="670" height_o="465" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/05 Alasdair Duncan_o.jpg" data-mid="16657068" border="0" align="left"/> <img src="http://payload12.cargocollective.com/1/3/116300/2557274/06 Alasdair Duncan 2_560.jpg" width="560" height="500" width_o="600" height_o="536" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/06 Alasdair Duncan 2_o.jpg" data-mid="16657069" border="0" align="left"/> Gerard Hemsworth <img src="http://payload12.cargocollective.com/1/3/116300/2557274/07 Gerard Hemsworth_560.jpg" width="560" height="560" width_o="600" height_o="600" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/07 Gerard Hemsworth_o.jpg" data-mid="16657070" border="0" align="left"/> Karen Henderson <img src="http://payload12.cargocollective.com/1/3/116300/2557274/08 Karen Henderson_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/08 Karen Henderson_o.jpg" data-mid="16657072" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/09 Karen Henderson 2_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/09 Karen Henderson 2_o.jpg" data-mid="16657073" border="0" align="left"/> Ben Woodeson <img src="http://payload12.cargocollective.com/1/3/116300/2557274/10 Ben Woodeson 1_560.jpg" width="560" height="388" width_o="670" height_o="465" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/10 Ben Woodeson 1_o.jpg" data-mid="16657075" border="0" align="left"/> <img src="http://payload12.cargocollective.com/1/3/116300/2557274/11 Ben Woodeson 3_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/11 Ben Woodeson 3_o.jpg" data-mid="16657076" border="0" align="left"/> <img src="http://payload12.cargocollective.com/1/3/116300/2557274/12 Ben Woodeson 2_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/12 Ben Woodeson 2_o.jpg" data-mid="16657077" border="0" align="left"/> Private View Photographs by Nancy Elser <img src="http://payload12.cargocollective.com/1/3/116300/2557274/13_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/13_o.jpg" data-mid="16657660" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/14_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/14_o.jpg" data-mid="16657662" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/15 PV_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/15 PV_o.jpg" data-mid="16657664" border="0" align="left"/> <img src="http://payload12.cargocollective.com/1/3/116300/2557274/16_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/16_o.jpg" data-mid="16657665" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/17 PV_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/17 PV_o.jpg" data-mid="16657666" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/18_560.jpg" width="560" height="373" width_o="600" height_o="400" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/18_o.jpg" data-mid="16657668" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/19_560.jpg" width="560" height="388" width_o="670" height_o="465" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/19_o.jpg" data-mid="16657674" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/21_560.jpg" width="560" height="388" width_o="670" height_o="465" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/21_o.jpg" data-mid="16657677" border="0" align="left"/><img src="http://payload12.cargocollective.com/1/3/116300/2557274/23_560.jpg" width="560" height="388" width_o="670" height_o="465" src_o="http://payload12.cargocollective.com/1/3/116300/2557274/23_o.jpg" data-mid="16657682" border="0" align="left"/> http://www.angus-hughes.com/Mainstream-2-1 http://www.angus-hughes.com/following/angus-hughes.com/Mainstream-2-1 Tue, 29 Nov 2011 13:17:59 +0000 www.angus-hughes.com 2380191 Friday 9 December, 6pm – 9pm <img src="http://payload4.cargocollective.com/1/3/116300/2380191/Event Image 560.jpg" width="560" height="560" width_o="560" height_o="560" src_o="http://payload4.cargocollective.com/1/3/116300/2380191/Event Image 560_o.jpg" data-mid="12913104" border="0" align="left"/> Harold Offeh, Arabesque. 2007 Angus-Hughes Gallery & Sheffield Fringe present Mainstream 2.1 With films by Laure Prouvost, Charlie Tweed, Margaret Salmon, Maria Marshall, Harold Offeh, Yaron Lapid, Fred Lindberg, Erica Scourti Live operatic intermissions by The Society of Imaginary Friends "Mainstream 2.1" presents a series of artists' films brought together by their varying strategies in the use of actuality as a material object. Much variation can be sited in how artists and filmmakers approach the use of actuality as a creative, political, and philosophical means for art production. Embedded in these works, dialogues and playful critiques can be found of the documentary form, documentation, performance and spectatorship. Perhaps in a way similar to the Hitchcockian principle approach to actors as object material "willing to be utilised and wholly integrated", it could be suggested that here actuality, meaning documentary material itself is the material object used to underpin an artistic authority in the pursuit of a captive audience. This 'authority' exists not only in bodily presence and performance documentations as in Laure Prouvost, Fred Lindberg or Harold Offeh's work, but also in concept as in Erica Scourti's use of unauthorised archive material, a pastiche on 'becoming', or Margaret Salmon's seemingly covert recording of a couple’s domestic argument. Providing an altogether more sensory experience for the spectator, these artists provide landscapes of discomfort, which draw in, charm, seduce and repel. Sheffield Fringe is an artist-led initiative exploring the confluence point between art & documentary practice. It was first staged as a nano festival in June this year to coincide with the broadcast market driven Sheffield Doc/Fest. Sheffield Fringe was born out of a desire to create a platform dedicated to an expansive understanding of how we make and view documentaries, incorporating a multitude of suggested strategies of reform. Supported by <img src="http://payload4.cargocollective.com/1/3/116300/2380191/Lux Logo 100pix.jpg" width="100" height="140" width_o="100" height_o="140" src_o="http://payload4.cargocollective.com/1/3/116300/2380191/Lux Logo 100pix_o.jpg" data-mid="11969786" border="0" align="left"/> <img src="http://payload4.cargocollective.com/1/3/116300/2380191/IMT Logo H140px.jpg" width="180" height="140" width_o="180" height_o="140" src_o="http://payload4.cargocollective.com/1/3/116300/2380191/IMT Logo H140px_o.jpg" data-mid="12115413" border="0" align="left"/> societyofimaginaryfriends.com sheffieldfringe.com facebook.com/sheffieldfringe http://www.angus-hughes.com/Escalate-Entropy http://www.angus-hughes.com/following/angus-hughes.com/Escalate-Entropy Sun, 06 Nov 2011 11:02:27 +0000 www.angus-hughes.com 2259804 Private View: 6-9pm Friday 11 November Exhibition Continues Until: Sunday 4 December <img src="http://payload.cargocollective.com/1/3/116300/2259804/Studio Autumn 2004 larger.jpg" width="570" height="866" width_o="570" height_o="866" src_o="http://payload.cargocollective.com/1/3/116300/2259804/Studio Autumn 2004 larger_o.jpg" data-mid="11968897" border="0" align="left"/> Escalate Entropy Justin Brown 010010100111010101110011011101000110100101101110 0110001001010010011011110101011101101110 Ross Chisholm 01010010011011110111001101110011 0100001101101000010010010101001101001000010011110100110001001101 Thomas Crane 010101000110100001101111011011010110000101110011 0100001101010010010000010110111001100101 Andy Jackson 01000001011011100110010001111001 01001010010000010100001101001011011100110100111101101110 Robert Orchardson 010100100110111101100010011001010111001001110100 0100111101010010010000110110100001000001010100100110010001110011 0100111101101110 Tom Walker 010101000110111101101101 010101110100000101001100010010110110010101010010 The artists brought together for Escalate Entropy shared a studio in Deptford whilst studying at Goldsmiths College London, between 2004 and 2007. The studio building has since been demolished to make way for new ‘luxury’ apartments. The following paragraph is a story, which re-imagines the current land occupiers in a parallel universe: At 01000001 housing showroom. 1, 0 and Temp1 sit at the desks of their temporary contemporary office. Temp1 sifts over the digital windows of his morning tasks and hovers upon the updates and social status of friends. A Youtube clip opens unexpectedly upon Temp1’s current page: an animation portraying two cut-out childlike figures embroiled in ambiguous violence, repeated in 3 second sequence. Cut and pasted beyond these figures is a backdrop of planes, mirroring the canal and railway overpass viewed from 01000001’s windows. Amidst the sudden chaos a lethargic daydream kicks in: Temp1 stares past his YouTube encounter, beyond into another 2 dimensional plane: the seemingly flat ceiling tiles suddenly display a holographic resemblance, growing third facets into a sculptural pastel world. Below, the carpet tiles skew, Temp1’s digital screen flickers as a result of the sudden disruption. The emulsion cracks at the dry ceiling edge whilst down below, at the wall/floor junction, paint liquidises once again, gradually filling in the canals left between the carpet tiles. The light from Temp1’s computer display is gradually fading into a monochromatic blank: a screen-sized pixel, dimming like a dying star… Escalate Entropy is not an exhibition about the similarities of work in a curated group but rather a collection of artists whose relationship is a studio that no longer exists: a ghost space (0). The exhibition at Angus Hughes (1) is a temporary material re-collection of artists from this ghost space. In Escalate Entropy: · The ghost space is recreated through interior and architectural features of the studio. · Artwork from 2004-2007 is re-presented, re-examined or re-contextualised. · New artwork is exhibited in this re-collection context: an artwork can be contextualised in a historical sense. The works exhibited here do so between a recollected workplace and a gallery space, in a sense they exist before you, between a 0 and a 1. Justin Brown recently showed in the exhibition Waterlogged Objects at Fold Gallery, London in 2011. Previous exhibitions included Foreign Bodies at White Box Gallery in New York and Carcus at V22, London. Ross Chisholm's solo exhibition Garden of Forking Paths opened at Marc Janou Contemporary in September this year. Selected previous exhibitions include solo exhibitions at Greider Contemporary, Berlin in 2010 and IBID Projects, London in 2009. Thomas Crane's works have been exhibited at the Trinity Laban Dance Centre in London as part of the performance Sunday Morning. Recent exhibitions include a commissioned artwork for David Mach's Precious Light as part of the Edinburgh Arts Festival and To Be or Not To Be at Shoreditch Town Hall in 2010. Andy Jackson recent exhibitions in 2011 included Seconds at The Sunday Painter, London and Mail Please at Blyth Gallery, Imperial College, London. Other selected exhibitions include Slip Sensor at Cell Project Space, London, Painting Over at Studio 1.1 and Bloomberg New Contemporaries 2006. Robert Orchardson's solo exhibition Endless Facade opened at the IKON Gallery, Birmingham in February 2011 and will tour to Vancouver Contemporary Art Gallery in Canada this month. Tom Walker's recent exhibitions include Mail Please at Blyth Gallery, Imperial College, London and Time After 211 Rijeka, Croatia in 2011. Past exhibitions include VIDEOHOLICA International Video Art Festival. 2009 and Bloomberg New Contemporaries, 2007. Installation View: <img src="http://payload.cargocollective.com/1/3/116300/2259804/2 - Eeinstall low res.jpg" width="670" height="437" width_o="670" height_o="437" src_o="http://payload.cargocollective.com/1/3/116300/2259804/2 - Eeinstall low res_o.jpg" data-mid="11968922" border="0" align="left"/> Justin Brown 1. Motorik, 2010, Mild Steel <img src="http://payload.cargocollective.com/1/3/116300/2259804/01 Justin Brown.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/2259804/01 Justin Brown_o.jpg" data-mid="12127823" border="0" align="left"/> 2. Untitled, 2010 3. Black Solid, White Noise, 2010, Mild Steel, 26 x 10 x 5 cm <img src="http://payload.cargocollective.com/1/3/116300/2259804/02- 03 Justin Brown_4.jpg" width="670" height="734" width_o="670" height_o="734" src_o="http://payload.cargocollective.com/1/3/116300/2259804/02- 03 Justin Brown_4_o.jpg" data-mid="12163036" border="0" align="left"/> Ross Chisholm 4. Infant Samuel Kneeling at Prayer, 2011, Mixed Media Installation, dimensions variable <img src="http://payload.cargocollective.com/1/3/116300/2259804/04 1 Ross Chisholm.jpg" width="670" height="496" width_o="670" height_o="496" src_o="http://payload.cargocollective.com/1/3/116300/2259804/04 1 Ross Chisholm_o.jpg" data-mid="12127827" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2259804/04 2 Ross Chisholm.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/2259804/04 2 Ross Chisholm_o.jpg" data-mid="12127829" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2259804/04 3 Ross Chisholm.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/2259804/04 3 Ross Chisholm_o.jpg" data-mid="12127831" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2259804/04 4 Ross Chisholm.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/116300/2259804/04 4 Ross Chisholm_o.jpg" data-mid="12127834" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2259804/04 5 Ross Chisholm.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/116300/2259804/04 5 Ross Chisholm_o.jpg" data-mid="12127835" border="0" align="left"/> Thomas Crane 5. Apex of a Silent Emergency, 2011, Acrylic Paint, MDF, Sand, Rotating Flashing Light, Movement Sensor <img src="http://payload.cargocollective.com/1/3/116300/2259804/05 1 Thomas Crane.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/116300/2259804/05 1 Thomas Crane_o.jpg" data-mid="12127836" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2259804/05 2 Thomas Crane.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/2259804/05 2 Thomas Crane_o.jpg" data-mid="12127837" border="0" align="left"/> 6. Soft Slick Underbelly Target No 8, 2011, Acrylic Paint, MDF, Sand <img src="http://payload.cargocollective.com/1/3/116300/2259804/06 Thomas Crane.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/116300/2259804/06 Thomas Crane_o.jpg" data-mid="12127838" border="0" align="left"/> Andy Jackson 7. Tablet (A View from Oldfield Grove SE15), 2011, Acrylic on Board, 60 x 39cm 8. Relics (Vert), 2011, Acrylic on Canvas, 25 x 16cm <img src="http://payload.cargocollective.com/1/3/116300/2259804/07 08 Andy Jackson copy.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/2259804/07 08 Andy Jackson copy_o.jpg" data-mid="12165267" border="0" align="left"/> 9. Untitled, 2011, Acrylic on Board, 23 x 15cm 11. Relics, 2011, Acrylic on Board, 22.7 x 15cm <img src="http://payload.cargocollective.com/1/3/116300/2259804/09 11 Andy Jackson.jpg" width="670" height="440" width_o="670" height_o="440" src_o="http://payload.cargocollective.com/1/3/116300/2259804/09 11 Andy Jackson_o.jpg" data-mid="12127840" border="0" align="left"/> 10. Set 12, 2011, Acrylic on Canvas, 226.5 x 26.5cm 10a. (Detail) <img src="http://payload.cargocollective.com/1/3/116300/2259804/10 Andy Jackson copy.jpg" width="670" height="700" width_o="670" height_o="700" src_o="http://payload.cargocollective.com/1/3/116300/2259804/10 Andy Jackson copy_o.jpg" data-mid="12163131" border="0" align="left"/> Robert Orchardson 13. Nova, 2007, , Spray-painted steel, 100 × 200 cm 13a. (Detail) <img src="http://payload.cargocollective.com/1/3/116300/2259804/13 Robert Orchardson.jpg" width="670" height="477" width_o="670" height_o="477" src_o="http://payload.cargocollective.com/1/3/116300/2259804/13 Robert Orchardson_o.jpg" data-mid="12127842" border="0" align="left"/> Tom Walker 14. Finish Him, 2011, iMac 2005, studio stool and DVD <img src="http://payload.cargocollective.com/1/3/116300/2259804/14 Tom Walker.jpg" width="670" height="475" width_o="670" height_o="475" src_o="http://payload.cargocollective.com/1/3/116300/2259804/14 Tom Walker_o.jpg" data-mid="12127843" border="0" align="left"/> 15. Untitled, 2011, Digital Print, 10 x 15cm <img src="http://payload.cargocollective.com/1/3/116300/2259804/15 Tom Walker.jpg" width="670" height="639" width_o="670" height_o="639" src_o="http://payload.cargocollective.com/1/3/116300/2259804/15 Tom Walker_o.jpg" data-mid="12127846" border="0" align="left"/> 16. Beam Me Up Scotty, 2011, Digital Print, 10 x 15cm <img src="http://payload.cargocollective.com/1/3/116300/2259804/16 Tom Walker.jpg" width="670" height="485" width_o="670" height_o="485" src_o="http://payload.cargocollective.com/1/3/116300/2259804/16 Tom Walker_o.jpg" data-mid="12127847" border="0" align="left"/> Ross Chisholm and Tom Walker 17. Door of my Heart, 2003-2011, Wood, Emulsion, Audio equipment, Dimensions variable <img src="http://payload.cargocollective.com/1/3/116300/2259804/17 RS and TW.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/116300/2259804/17 RS and TW_o.jpg" data-mid="12127848" border="0" align="left"/> Studio 115 18. Dust Free Painting Booth Divider <img src="http://payload.cargocollective.com/1/3/116300/2259804/18 S115.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/3/116300/2259804/18 S115_o.jpg" data-mid="12127849" border="0" align="left"/> 19a. Windows and Workbench <img src="http://payload.cargocollective.com/1/3/116300/2259804/19a S115.jpg" width="670" height="514" width_o="670" height_o="514" src_o="http://payload.cargocollective.com/1/3/116300/2259804/19a S115_o.jpg" data-mid="12127850" border="0" align="left"/> 19b. Workbench with Mains <img src="http://payload.cargocollective.com/1/3/116300/2259804/19b S115.jpg" width="670" height="475" width_o="670" height_o="475" src_o="http://payload.cargocollective.com/1/3/116300/2259804/19b S115_o.jpg" data-mid="12127851" border="0" align="left"/> 20 115 Reversed/Mirrored <img src="http://payload.cargocollective.com/1/3/116300/2259804/20 S115.jpg" width="670" height="446" width_o="670" height_o="446" src_o="http://payload.cargocollective.com/1/3/116300/2259804/20 S115_o.jpg" data-mid="12127854" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2259804/Floorplan.jpg" width="670" height="918" width_o="1378" height_o="1890" src_o="http://payload.cargocollective.com/1/3/116300/2259804/Floorplan_o.jpg" data-mid="12128721" border="0" align="left"/> All images, courtesy of the artists http://www.angus-hughes.com/RICHARD-DUCKER-PHILIP-HAUSMEIER http://www.angus-hughes.com/following/angus-hughes.com/RICHARD-DUCKER-PHILIP-HAUSMEIER Thu, 29 Sep 2011 15:51:29 +0000 www.angus-hughes.com 2075844 Private View: Friday 7th October, 6-9pm Exhibition runs: Oct 8th – Oct 30th Gallery open: Friday - Sunday, 12-6pm <img src="http://payload.cargocollective.com/1/3/116300/2075844/Installation view 14 copy.jpg" width="670" height="435" width_o="850" height_o="552" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Installation view 14 copy_o.jpg" data-mid="10603243" border="0" align="left"/> If Richard Ducker’s previous sculptures turned the detritus of consumer culture into monuments to our obsession with things, this new work turns monumental sculptural tropes into dumb chunks of material poised precariously between ugliness and fascination. ‘Blockhead’ seems to speak of rough marble as a trace of the hand of the artist, yet its grammar and syntax – from the material used, polystyrene, to the disproportionate metal ‘plinth’ from which it collapses – do not quite grasp and relay an intended meaning. Like dyslexic writing, it leaves us uncertain as to whether it is profoundly poetic or badly structured. ‘Dark Matter’ appears to quote a monochromatic tradition, but on close inspection the black shards, insulating material covered in flock, have just as much in common with the discarded props of a pre GCI sci-fi movie, when such concoctions had to make do as interstellar debris floating in deep space or the rough surface of a new planet. Too casually unfinished to convince as a plaster model, ‘Untitled’ (2010) articulates its own awkward pointlessness. Failing to resolve into either sense or nonsense, Ducker’s sculptures turn the artist’s own alienation from language into a shared bodily experience. They disturb the connection between form and meaning, between body and the ‘clean and proper self’ of a subjectivity that has fully entered into language and the semiotic, yet they do not allow us to wallow in abjection and the symbolic. In Ducker’s work, now as before, we are deceived by objects and failed by language, left in conflict between desire and meaning, daftness and poetry. - Patrizia Di Bello, October 2011 The work of Philip Hausmeier explores in a range of media, including installation, video and collage, bodily perception and its environmental correlations, and particularly concentrates on the physical and psychological conditions that define the self as an impermanent and fragmented entity. The body is seen as a base material from which to examine potential meanings of subjective feeling. ‘To the other shore’ (2007) shows a projected loop of struggling birds endlessly falling. Immersed in this almost hypnotic sequence the viewer begins to falls with them, and finding nowhere to rest, fluctuates between the filmed image and an internal change of state becoming conscious. This ambiguity between image and subjective feeling is further investigated in Hausmeier’s new series of collages called ‘Uncertain Stages’. Magazine images of musicians and singers caught in their emotional exaggeration on stage are cut and arranged to reform the image to the edge of hovering between abstract formalism and the remains of self-expression. The body as a means for externalizing emotion appears to be in conflict with its surroundings and other bodies, broken and fragmented. Yet at the same time the works seem to present themselves as poetic plays of light and darkness, functioning as extensions of a torn and unstable subjectivity. Richard Ducker: 07957228351 / www.richardducker.com / richard@richardducker.com Philip Hausmeier: www.americancontemporary.biz Richard Ducker (Lesser) Blockhead 2011 120x120x170cm Polystyrene and reading lamp stand Blockhead 2011 240x110x120cm Polystyrene and steel base <img src="http://payload.cargocollective.com/1/3/116300/2075844/Block Head.jpg" width="670" height="328" width_o="670" height_o="328" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Block Head_o.jpg" data-mid="11968115" border="0" align="left"/> Richard Ducker Dark Matter 4, 5, 6, 7, 8 2011 Various Sizes All compressed foam, black flock, MDF <img src="http://payload.cargocollective.com/1/3/116300/2075844/Dark Matter.jpg" width="670" height="294" width_o="670" height_o="294" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Dark Matter_o.jpg" data-mid="11968205" border="0" align="left"/> Richard Ducker Untitled 2010 130x70x120cm Chicken wire, plaster, compressed foam, MDF plinth <img src="http://payload.cargocollective.com/1/3/116300/2075844/Sculpture.jpg" width="670" height="793" width_o="670" height_o="793" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Sculpture_o.jpg" data-mid="10603406" border="0" align="left"/> Philip Hausmeier Triptych 2011 (2x) 22.4x30.4cm and 45.2x30.4cm (all framed) All collaged paper Installation View and Two, One, Three <img src="http://payload.cargocollective.com/1/3/116300/2075844/P. Hausmeier 4 copy.jpg" width="670" height="446" width_o="850" height_o="567" src_o="http://payload.cargocollective.com/1/3/116300/2075844/P. Hausmeier 4 copy_o.jpg" data-mid="10603401" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/2075844/Philip New center.JPG" width="670" height="451" width_o="2048" height_o="1381" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Philip New center_o.JPG" data-mid="11318796" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2075844/Philip Triptych One and Three half size.jpg" width="670" height="430" width_o="670" height_o="430" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Philip Triptych One and Three half size_o.jpg" data-mid="11967655" border="0" align="left"/> Philip Hausmeier Uncertain Stages 1-5 2011 All 22x32cm (framed) All collaged paper Installation View and One, Two, Three, Four, Five <img src="http://payload.cargocollective.com/1/3/116300/2075844/P. Hausmeier copy.jpg" width="670" height="422" width_o="850" height_o="536" src_o="http://payload.cargocollective.com/1/3/116300/2075844/P. Hausmeier copy_o.jpg" data-mid="11069945" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2075844/uncertain stages 1 - 2.jpg" width="670" height="576" width_o="670" height_o="576" src_o="http://payload.cargocollective.com/1/3/116300/2075844/uncertain stages 1 - 2_o.jpg" data-mid="11967773" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/2075844/uncertain stages 3 - 4.jpg" width="670" height="462" width_o="670" height_o="462" src_o="http://payload.cargocollective.com/1/3/116300/2075844/uncertain stages 3 - 4_o.jpg" data-mid="11967775" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/2075844/half Philip Uncertain Stages 5.jpg" width="310" height="632" width_o="310" height_o="632" src_o="http://payload.cargocollective.com/1/3/116300/2075844/half Philip Uncertain Stages 5_o.jpg" data-mid="11967771" border="0" align="left"/> Philip Hausmeier Untitled 2011 All 29x40cm (framed) All collaged paper One, Two, Three <img src="http://payload.cargocollective.com/1/3/116300/2075844/Triptych.jpg" width="670" height="344" width_o="670" height_o="344" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Triptych_o.jpg" data-mid="11967897" border="0" align="left"/> Philip Hausmeier To the other shore 2007 DVD, Edition of 3 Video Still, Installation View <img src="http://payload.cargocollective.com/1/3/116300/2075844/To the other shore 2007.jpg" width="670" height="436" width_o="1138" height_o="741" src_o="http://payload.cargocollective.com/1/3/116300/2075844/To the other shore 2007_o.jpg" data-mid="11042552" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/2075844/Installation view 8 copy.jpg" width="670" height="510" width_o="850" height_o="648" src_o="http://payload.cargocollective.com/1/3/116300/2075844/Installation view 8 copy_o.jpg" data-mid="11041843" border="0" align="left"/> (Images Courtesy of the Artists) http://www.angus-hughes.com/Insurgencies http://www.angus-hughes.com/following/angus-hughes.com/Insurgencies Fri, 16 Sep 2011 15:34:24 +0000 www.angus-hughes.com 2012748 Curated by Shane Bradford & Peter Lamb 2 September - 2 October 2011 This new exhibition highlights young artists' insurgent attitudes towards contemporary painting. Insurgencies opens Friday September 2nd at the intriguing, privately run, not-for-profit space Angus-Hughes Gallery in Lower Clapton. Conceived and organized by artists Peter Lamb and Shane Bradford, the show emphasizes artistic strategies that use ideas of collapse and failure to energise their work and aims to recreate conditions that nurture insurgent attitudes, often homogenised by the familial processes of art world presentation and consumption. As well as curating, Lamb and Bradford will exhibit alongside some of their contemporaries - all at different stages of their careers - including Nina Beier, Oscar Murillo, Hans Jörg Mayer, Thomas Øvlisen, Aney Catford and Ruairiadh O'Connell. Each artist in the show demonstrates a willingness to demote or jeopardise artistic authority in favour of an acknowledgement of paintings’ shortcomings - as a paradoxical means to its re-invigoration. The subject of these works often manifests as a cross-examination of real-life circumstance, demonstrating an instinctive need to question the validity of the criteria by which it is judged. The exhibition itself performs an active function that seeks ‘…to recreate the emptiness where the pure event of form can take place.’ (Baudrillard) “We want to provide the conditions where the artists themselves dictate the best possible context for their work to be viewed.” (Shane Bradford) Strategies vary of course; differences are naturally as common as similarities. Failure to synchronise is celebrated, however; positive energy generated by friction. Each attempt is doomed and vital, fuelled by its own collapse. Contradiction, confusion, changes-of-mind, multiple-viewpoints, disappearance, refraction, mistakes and cancellations are all proof of active thinking and reflect more clearly the skittishness of the contemporary Western psyche. Nina Beier | Shane Bradford | Aney Catford | Peter Lamb | Hans Jörg Mayer | Oscar Murillo | Ruairiadh O'Connell | Thomas Øvlisen Shane Bradford (UK)(b. 1971) – has exhibited extensively in England, Scandinavia, Europe and the United States throughout the last decade. He was the winner of the 2007 Celeste Painting Prize. He currently lives and works in London. Peter Lamb (UK)(b. 1973) – has also exhibited widely in England, Iceland, Europe and the United States since leaving art school in 1996. Recent exhibitions include ‘Das Vertraute Unvertraute’ at the Wurttembergischer Kunstverein in Stuttgart and solo exhibitions in London, Houston and Los Angeles. For information contact: Shane Bradford Studio 1.08 Limehouse Art Foundation Towcester Road London E3 3ND studio@shanebradford.com http://shanebradford.com/ +44(0) 7870 649294 Peter Lamb http://www.peterlamb.org/ peterlamb28@googlemail.com +44(0) 7970749263 Shane Bradford Cosmic Slots (temporary title) 245x366cm 2011- <img src="http://payload.cargocollective.com/1/3/116300/2012748/Shane Bradford Cosmic Sots (temporary title).jpg" width="670" height="470" width_o="2048" height_o="1438" src_o="http://payload.cargocollective.com/1/3/116300/2012748/Shane Bradford Cosmic Sots (temporary title)_o.jpg" data-mid="10006428" border="0" align="left"/> Aney Catford untitled Acrylic on papr 181x139x8cm 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/2 Aney Catford untitled Nancy.jpg" width="670" height="808" width_o="2048" height_o="2470" src_o="http://payload.cargocollective.com/1/3/116300/2012748/2 Aney Catford untitled Nancy_o.jpg" data-mid="10359398" border="0" align="left"/> Peter Lamb Head from a person coming 240x200cm Digital print on dibond aluminium, acrylic, oil, spray paint 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/Peter Lamb Head From A Person Coming.jpg" width="670" height="557" width_o="2048" height_o="1703" src_o="http://payload.cargocollective.com/1/3/116300/2012748/Peter Lamb Head From A Person Coming_o.jpg" data-mid="10006399" border="0" align="left"/> Hans Jörg Mayer Machine 150x145cm Ink and acrylic on velvet 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/Hans Jorg Mayer Machine.jpg" width="670" height="691" width_o="1673" height_o="1727" src_o="http://payload.cargocollective.com/1/3/116300/2012748/Hans Jorg Mayer Machine_o.jpg" data-mid="10006295" border="0" align="left"/> Hans Jörg Mayer Void 150x145cm Ink and acrylic on velvet 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/Hans Jorg Mayer Void.jpg" width="670" height="706" width_o="1993" height_o="2103" src_o="http://payload.cargocollective.com/1/3/116300/2012748/Hans Jorg Mayer Void_o.jpg" data-mid="10006317" border="0" align="left"/> Oscar Murillo Eat this (mother fucker!) 130x95x50cm 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/Oscar Murillo Eat this (mother fucker!).jpg" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/2012748/Oscar Murillo Eat this (mother fucker!)_o.jpg" data-mid="10006332" border="0" align="left"/> Oscar Murillo You're never as good as the first one 130x95x50cm 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/7 Oscar Murillo You-re never as good as the first one Nancy.jpg" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/2012748/7 Oscar Murillo You-re never as good as the first one Nancy_o.jpg" data-mid="10359195" border="0" align="left"/> Ruairiadh O'Connell Aztek 61x49.5x2.5 Wax, ink, stell 2011 Luxor 61x49.5x2.5 Wax, ink, stell 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/8 Ruairiadh O-Connell .jpg" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/2012748/8 Ruairiadh O-Connell _o.jpg" data-mid="10359147" border="0" align="left"/> Thomas Øvlisen FTITCTAJ Kevlar, Epoxy, Auto Lacquer 96x4x23.5inches 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/9 Thomas Ovlisen FTITCTAJ Front - Back.jpg" width="670" height="512" width_o="670" height_o="512" src_o="http://payload.cargocollective.com/1/3/116300/2012748/9 Thomas Ovlisen FTITCTAJ Front - Back_o.jpg" data-mid="12129339" border="0" align="left"/> Thomas Øvlisen FYIWDWYTM Kevlar, Epoxy, Auto Lacquer 84.5x1x23.5inches 2011 <img src="http://payload.cargocollective.com/1/3/116300/2012748/11 Thomas Ovlisen FYIWDWYTM Front - Back.jpg" width="670" height="533" width_o="670" height_o="533" src_o="http://payload.cargocollective.com/1/3/116300/2012748/11 Thomas Ovlisen FYIWDWYTM Front - Back_o.jpg" data-mid="12129341" border="0" align="left"/> All images, Nancy Elser and Iavor Lubomirov http://www.angus-hughes.com/Acoustic-Sessions http://www.angus-hughes.com/following/angus-hughes.com/Acoustic-Sessions Tue, 26 Jul 2011 16:04:31 +0000 www.angus-hughes.com 1780985 <img src="http://payload.cargocollective.com/1/3/116300/1780985/final.jpg" width="600" height="156" width_o="600" height_o="156" src_o="http://payload.cargocollective.com/1/3/116300/1780985/final_o.jpg" data-mid="8799277" border="0" align="left"/> A performance event curated by SHIFT. Staged by Joe Watling. 12th of August 6-9pm only Artists confirmed so far: fred and angus nicholas bates ruth beale helen benigson darren callow patrick coyle bex gamble eirini kartsaki calum kerr = calum f. kerr daniel lehan leah lovett robert luzar kate mahony joanna mccormick jordan mckenzie jenny moore frog morris owen g. parry holly slingsby mr solo less. Press Release: THE EMPTY GALLERY INTERVIEWS www.shiftgallery.com/acousticsessions.aspx THE EMPTY GALLERY INTERVIEWS is a series of live conversations staged with exhibitors ahead of their exhibitions. Set inside empty galleries across London, and further afield, art writer Claire Nichols stages informal interviews that make public the anticipatory dialogue that exists between the exhibitor and the exhibition space. Talking with each artist or curator about their upcoming show, the Interviews offer an insight into the methodology that informs the exhibitor’s response to the gallery space; tracing their evolving relationship to the space in the lead up to installing the work. Putting into practice a vocal ordering of the visual, the Interviews consider what it might mean to perform or translate the artist’s or curator’s response to the gallery site. Initiated in 2009 by Claire Nichols and Altair Roelants, the series is ongoing and probes the rituals associated with making, exhibiting and viewing within a host of different gallery spaces. See also: www.shiftgallery.com www.angus-hughes.com www.theemptygalleryinterviews.com <img src="http://payload.cargocollective.com/1/3/116300/1780985/jorden.jpg" width="670" height="249" width_o="720" height_o="268" src_o="http://payload.cargocollective.com/1/3/116300/1780985/jorden_o.jpg" data-mid="11345363" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1780985/holly.jpg" width="670" height="411" width_o="720" height_o="442" src_o="http://payload.cargocollective.com/1/3/116300/1780985/holly_o.jpg" data-mid="11345362" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1780985/254788_10150340540655498_670935497_9881070_2811610_n.jpg" width="670" height="445" width_o="720" height_o="479" src_o="http://payload.cargocollective.com/1/3/116300/1780985/254788_10150340540655498_670935497_9881070_2811610_n_o.jpg" data-mid="11345365" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1780985/291730_10150340541745498_670935497_9881113_1360990_n.jpg" width="670" height="445" width_o="720" height_o="479" src_o="http://payload.cargocollective.com/1/3/116300/1780985/291730_10150340541745498_670935497_9881113_1360990_n_o.jpg" data-mid="11345367" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1780985/292053_10150340542525498_670935497_9881141_2809648_n.jpg" width="670" height="445" width_o="720" height_o="479" src_o="http://payload.cargocollective.com/1/3/116300/1780985/292053_10150340542525498_670935497_9881141_2809648_n_o.jpg" data-mid="11345368" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1780985/298929_10150340541230498_670935497_9881094_5930356_n.jpg" width="670" height="445" width_o="720" height_o="479" src_o="http://payload.cargocollective.com/1/3/116300/1780985/298929_10150340541230498_670935497_9881094_5930356_n_o.jpg" data-mid="11345372" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1780985/312880_2167438037058_1579917178_32138032_2520839_n.jpg" width="670" height="446" width_o="720" height_o="480" src_o="http://payload.cargocollective.com/1/3/116300/1780985/312880_2167438037058_1579917178_32138032_2520839_n_o.jpg" data-mid="11345374" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1780985/helen.jpg" width="670" height="140" width_o="720" height_o="151" src_o="http://payload.cargocollective.com/1/3/116300/1780985/helen_o.jpg" data-mid="11345375" border="0" align="left"/> http://www.angus-hughes.com/Rules-of-Engagement http://www.angus-hughes.com/following/angus-hughes.com/Rules-of-Engagement Sat, 09 Jul 2011 22:28:03 +0000 www.angus-hughes.com 1682805 Private View Friday 24th June 6pm-9pm Exhibition Continues 25th June – 24th July <img src="http://payload.cargocollective.com/1/3/116300/1682805/RulesofEngagement.jpg" width="500" height="658" width_o="500" height_o="658" src_o="http://payload.cargocollective.com/1/3/116300/1682805/RulesofEngagement_o.jpg" data-mid="8356132" border="0" align="left"/> Julia Crabtree & William Evans Timothy Ivison & Julia Tcharfas Maria Theodoraki with John Smith Maria Theodoraki with Jamie George An exhibition which explores the nature of collaboration through three varying practices. In the spirit of the continued collaboration between Angus-Hughes Gallery and curators/collectives/projects/artists, the gesamtkunstwerk* project presents an exhibition which explores the nature of collaboration through three varying practices. The two collaborative pairs will be exhibiting contrasting installations, whilst the third practice of Theodoraki explores different modes of working together—with places, objects and other people, artists, or curators. Also presented in this collaborative exhibition is the TOTAL ART BOX. This box, which has roots in the ‘Fluxbox’ ‘s from the Fluxus movement, contains the work of artists involved in the project. In a box which has been custom designed and constructed by Surya Buck, the contents of this first edition of 50 will be displayed in the gallery. *The gesamtkunstwerk project brings together international artists, musicians, writers, photographers, filmmakers, and curators that will journey across the United States in 2012, putting on exhibitions, gigs, talks and events. From the west to east coast the project in itself will be a total artwork. The term gesamtkunstwerk has been appropriated here, using its literal translation total artwork, for the purpose of describing this group of artists and their actions. From 2010 a series of exhibitions, events, gigs and talks are being presented in the UK to raise the profile of the event and it’s purpose to promote international exchange across multiple disciplines. Curated by Corinne Mynatt for gesamtkunstwerk 2012. http://www.gesamtkunstwerk2012.co.uk/ gesamtkunstwerk2012@gmail.com / 07931 439 942 Poster image: By the principle of eternal progression in which there is an endlessly creative unfoldment manifested successively in potentially countless forms, 2010. By Tim Ivison and Julia Tcharfas Installation View: <img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1671.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1671_o.JPG" data-mid="8260091" border="0" align="left"/> Individual Works: <img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1646.JPG" width="670" height="446" width_o="2048" height_o="1364" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1646_o.JPG" data-mid="8259994" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/001.jpg" width="670" height="465" width_o="670" height_o="465" src_o="http://payload.cargocollective.com/1/3/116300/1682805/001_o.jpg" data-mid="12163426" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1659.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1659_o.JPG" data-mid="8260050" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1662.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1662_o.JPG" data-mid="8260058" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1663.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1663_o.JPG" data-mid="8260065" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_9194_25.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_9194_25_o.JPG" data-mid="8615737" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/002.jpg" width="670" height="286" width_o="670" height_o="286" src_o="http://payload.cargocollective.com/1/3/116300/1682805/002_o.jpg" data-mid="12163428" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/003.jpg" width="670" height="286" width_o="670" height_o="286" src_o="http://payload.cargocollective.com/1/3/116300/1682805/003_o.jpg" data-mid="12163430" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1780.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1780_o.JPG" data-mid="8260137" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1778a.JPG" width="670" height="1005" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1778a_o.JPG" data-mid="8260130" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1778.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1778_o.JPG" data-mid="8260121" border="0" align="left"/><img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1777.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1777_o.JPG" data-mid="8260117" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1791.JPG" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/3/116300/1682805/IMG_1791_o.JPG" data-mid="8260149" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/3/116300/1682805/004.jpg" width="670" height="290" width_o="670" height_o="290" src_o="http://payload.cargocollective.com/1/3/116300/1682805/004_o.jpg" data-mid="12163538" border="0" align="left"/> All photographs by Nancy Elser and Iavor Lubomirov