Gallery B: “1:1.000.000.000” Mat Collishaw – William Curwen – Hervè Ingrand
Opening: Friday 30 march from 19,30 to 21,30 – from 30 march to 3 may 2007
From Tuesday to Friday from 11,00 to 13,30, from 15,00 to 18,30
PRESS RELEASE
Representation of space has always been a prerogative of the work; whether this is just described in the images, or whether it hides, through the realization process or with implicit or explicit references, a different dimension from the one that appears to us. The possibilities for a representation or a collocation of the subject or of space merely intended, are endless, so the title of the exhibition 1:1000.000.000 highlights the dilated relationship between the application of creativity with the three-dimensional representation contained in the work. The artists that confront with this sort of relationship have different experiences and attitudes and love relating to the image through formal expressions that can better satisfy the combination of creativity and representation of space:
MAT COLLISHAW has always searched, through image, a relationship of intermediation between what appears to us and the content suggesting the analysis of the elements that form the representation even in relation to explicit iconic references. In the case of the exhibited pictures the subjects portrayed, young mothers with their children looking at a candle just like the famous painting by Georges de la Tour. Their position is surrounded by dark space, shapes are designed by the faint light of the candle and finally their stillness, caged in the image, where the implicit desire is that of imagining oneself in another position, more comfortable and satisfying. The space in this case is described by who produces the image and by whom, interpreting it, places herself in the desire of another dimension.
WILLIAM CURWEN exposes photographic images printed with pigment ink on cotton paper, which can lead us back to a romantic and surreal imaginary like Turner’s paintings. The places described are landscapes or interiors where the technical photographic mean has a primary importance in the representation of space. The procedure he uses is the one of three shots in the classic black and white combined by three filters in red, blue and green which are then re-assembled with a computer superimposing the three coloured images and giving back the image in it’s natural colour. The outside space is codified in details through the computer screen to give back the present dimensions in reality which in the perceived image re-configures as unreal and nearly out of time
HERVE INGRAND, in the obsessive research for the dimension of memory of space in his studio, which crosses all his artistic path until it becomes itself the subject of his paintings, reproduces the document of making art and the experience connected to that time and space. The represented subject, in this case is the island of his studio painted in the Sahara desert. This space, a French region in which his studio is, is represented today as a bi-dimensional painting and documents what actually happened, in the shape of a painting placed on the dunes, in the immobile extent of one of the greatest deserts in the world.