http://www.songallery.co.uk Son Gallery Tue, 20 Nov 2012 07:42:21 +0000 http://www.songallery.co.uk en http://www.songallery.co.uk/Rob-Sherwood-The-Warp-The-Weft http://www.songallery.co.uk/following/songallery.co.uk/Rob-Sherwood-The-Warp-The-Weft Tue, 20 Nov 2012 07:42:21 +0000 Son Gallery 4470722 Past Exhibitions: (scroll right and down) Rob Sherwood The Warp & The Weft PV 28 September 6pm-8pm 29 September - 3 November <img src="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 2_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 2_o.jpg" data-mid="23713972" border="0" align="left"/> Download exhibition booklet Includes essays by Rye Holmboe and Paddy Langley, texts by Hannah Barry and Guy Robertson, as well as exhibit details and a floorplan. Rob Sherwood’s exhibition ‘The Warp & the Weft’ presented a cycle of works creating unexpected, sensory experiences out of systematic processes. These are often informed by abstractions found or created whilst using digital media and communications: unnecessary disruptions in otherwise logical and functional environments. The installation involved painting, paper making, sound, video and photography: each media and process being defined by its unique but corresponding system and their different ways of reacting under the artist’s hand. <img src="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 1_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 1_o.jpg" data-mid="23713970" border="0" align="left"/> <img src="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery_440.jpg" width="440" height="434" width_o="600" height_o="592" src_o="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery_o.jpg" data-mid="23713992" border="0" align="left"/> <img src="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 4_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 4_o.jpg" data-mid="23713976" border="0" align="left"/> <img src="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 5_440.jpg" width="440" height="307" width_o="600" height_o="418" src_o="http://payload108.cargocollective.com/1/7/240154/4470722/Rob_Sherwood The_Warp_and_The_Weft Son_Gallery 5_o.jpg" data-mid="23713989" border="0" align="left"/> In Sherwood’s paintings the grid is the underlying structure. He is interested in its role in processing digital light: particularly the organisation of colour into separate entities and the illusion of their togetherness, as made evident by pixellation. The grid is apparent in both Screen No.1, a folding screen that follows a painted algorithmic pattern, and in a video work exploring the colour palettes on painting software. Elsewhere a sound piece finds harmonies within the falterings of a streamed mp3 file, whilst a photo diptych forces images arbitrarily sourced from the internet into new relationships. Hanging on a panel is a piece of paper: handmade using the pulp of Japanese knotweed, an invasive plant known for its complex, rhizomatic root structures. As with his grid paintings each of these works tampers with an apparently rigid system and finds creative space in a subjective interference. The suggestion is that models which appear strict or sterile can combine meaningfully with subjective fields of feeling, whether in the algorithms of the internet or those of a painted pattern. Rob Sherwood (b. Bristol, 1984) is a London-based artist who studied at Chelsea College of Art, graduating in 2008. He exhibits in London with the Hannah Barry Gallery and in Rome with the Federica Schiavo Gallery. He has worked on exhibitions with the curator of ‘The Warp & The Weft’, Guy Robertson, in both the UK and Italy. Robertson, also a Director of Son Gallery, pays particular attention to Sherwood’s work exploring digital media. Recent exhibitions include ‘New Work’ 2011, Hannah Barry Gallery; Palazzo Collicola d’arte Visive, Spoleto, 2011; ‘Prosthetics: Painting & Photography’ 2010, Son Gallery; ‘Synthetic Symphonies’ 2010, Federica Schiavo Gallery. Past Exhibitions: (scroll right and down) Rob Sherwood The Warp & The Weft PV 28 September 6pm-8pm 29 September - 3 November Download... http://www.songallery.co.uk/Takeshi-Shiomitsu-Heavy-Reflections http://www.songallery.co.uk/following/songallery.co.uk/Takeshi-Shiomitsu-Heavy-Reflections Mon, 05 Nov 2012 10:57:08 +0000 Son Gallery 4380536 Takeshi Shiomitsu Heavy Reflections Programmed with PAMI, www.pami.org.uk 15 - 18 September 2011 <img src="http://payload104.cargocollective.com/1/7/240154/4380536/Takeshi_Shiomitsu Heavy_Reflections Son_Gallery_440.png" width="440" height="292" width_o="600" height_o="398" src_o="http://payload104.cargocollective.com/1/7/240154/4380536/Takeshi_Shiomitsu Heavy_Reflections Son_Gallery_o.png" data-mid="23187186" border="0" align="left"/> Online and gallery installations. Takeshi Shiomitsu is an artist living and working in South London. As well as working on his own practice he is a consultant for TRBMassacre (The Robert Burnstown Massacre) collective and plays in the noise pop band Spring Yard. His work fuses a variety of our experiences with technological media, from high-defi notion TV to low-grade internet-fed video streams. Using found material as well as home made footage, the latter often recorded in collaboration with other visual artists and musicians, he draws on hip hop and other areas of popular culture, sometimes putting himself in the star roles. His videos, like short ads loaded with subliminal messages, disrupt linear broadcasts in a coordinated riot of garish colours and catchy sounds. <img src="http://payload104.cargocollective.com/1/7/240154/4380536/Takeshi_Shiomitsu Heavy_Reflections Son_Gallery 1_440.png" width="440" height="262" width_o="600" height_o="357" src_o="http://payload104.cargocollective.com/1/7/240154/4380536/Takeshi_Shiomitsu Heavy_Reflections Son_Gallery 1_o.png" data-mid="23187302" border="0" align="left"/> <img src="http://payload104.cargocollective.com/1/7/240154/4380536/Takeshi_Shiomitsu Heavy_Reflections Son_Gallery 2_440.jpg" width="440" height="330" width_o="600" height_o="450" src_o="http://payload104.cargocollective.com/1/7/240154/4380536/Takeshi_Shiomitsu Heavy_Reflections Son_Gallery 2_o.jpg" data-mid="23272141" border="0" align="left"/> Takeshi Shiomitsu Heavy Reflections Programmed with PAMI, www.pami.org.uk 15 - 18 September 2011 Online and gallery installations. Takeshi Shiomitsu is an... http://www.songallery.co.uk/Preston-is-my-Paris-PIE http://www.songallery.co.uk/following/songallery.co.uk/Preston-is-my-Paris-PIE Mon, 05 Nov 2012 10:40:49 +0000 Son Gallery 4380453 Preston is my Paris PIE Preston institute of the Everyday Photobook Launch Party 1 October 2011 <img src="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery 1_440.jpg" width="440" height="285" width_o="600" height_o="389" src_o="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery 1_o.jpg" data-mid="23186625" border="0" align="left"/> Featuring live music from Lewis Floyd Henry, Ed Begley and James Kitchman, Will Scott’s on the roof Sextet and Robert Parkinson (DJ set). Son Gallery presented the launch of 'Preston Institute of the Everyday', or PIE; the latest photographic publication series produced by Adam Murray and Robert Parkinson, founders of Preston is my Paris. PIE is released quarterly and each publication deals with a subject relating to the everyday including; Public Transport, Health & Safety, Networks and Routine. Each issue will be released as both a limited edition printed newspaper and in a free download digital format. Alongside the visual work, a soundscape relating to the subject matter of the edition will be released and available to download as a podcast. <img src="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery 2_440.jpg" width="440" height="301" width_o="600" height_o="411" src_o="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery 2_o.jpg" data-mid="23186627" border="0" align="left"/> <img src="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery 3_440.jpg" width="440" height="282" width_o="600" height_o="384" src_o="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery 3_o.jpg" data-mid="23186628" border="0" align="left"/> <img src="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery_440.jpg" width="440" height="330" width_o="600" height_o="450" src_o="http://payload104.cargocollective.com/1/7/240154/4380453/Preston_is_my_Paris PIE Son_Gallery_o.jpg" data-mid="23186629" border="0" align="left"/> Preston is my Paris Co-founded by Adam Murray and Robert Parkinson in June 2009, Preston is my Paris originally began as a photocopied zine specifically focussing on the city of Preston but has since developed into a multi-faceted photographic archive consisting of 35 self published works, live events and digital applications that address themes relating to everyday life, place, identity and the now. In the past few years Preston is my Paris have had a prolific role in photography and independent publishing events including: Publisher of the Month at X Marks the Bookship, Cambridge Heath Road, London; Invited guest publishers at Publish It Yourself 2 at Maison d’Art Bernard Anthonioz, Nogent-sur-Marne, France; Copeland Book Market, Son Gallery. Recently they were commissioned to produce a publication titled ‘Derby’ for the Format International Photography Festival 2011, Derby. They have had a publication chosen to be exhibited as part of ‘Threefold’, currently taking place at the Photographic Resource Centre, Boston. Preston is my Paris work has been featured in a number of respected art and photography publications including: Photoworks (Autumn/Winter 2011), Le Monde (11 September 2011), Grafik (September 2011), Art Review (April 2011) and British Journal of Photography (September 2010). Preston is my Paris PIE Preston institute of the Everyday Photobook Launch Party 1 October 2011 Featuring live music from Lewis Floyd Henry, Ed Begley and... http://www.songallery.co.uk/Guy-Gormley-Inside-Polytunnel http://www.songallery.co.uk/following/songallery.co.uk/Guy-Gormley-Inside-Polytunnel Mon, 05 Nov 2012 10:29:46 +0000 Son Gallery 4380335 Guy Gormley Inside Polytunnel 12 October 2011 - 26 November 2011 At Son Gallery & Darbyshire Project Space <img src="http://payload104.cargocollective.com/1/7/240154/4380335/Guy_Gormley Inside_Polytunnel Son_Gallery 1_440.jpg" width="440" height="330" width_o="600" height_o="450" src_o="http://payload104.cargocollective.com/1/7/240154/4380335/Guy_Gormley Inside_Polytunnel Son_Gallery 1_o.jpg" data-mid="23186103" border="0" align="left"/> Image: from exhibition invitation Gormley’s works in 'Inside Polytunnel' included domestic inkjet prints, prints from digital pictures transferred to celluloid, as well as prints made in the darkroom from traditional 35mm negatives. He controls the atmosphere of his subjects through the knowing manipulation of photographic process, from editing and cropping, to paper types and methods of framing, each step in the image-making is undone and tested. In certain images, such as with the legs in the ‘Dovey Estuary’ series, characters are implied. In others, like the series of pools and streams, scenes are set. Close-ups of the body or vegetation allude to something hidden and private, and the sequencing of the pictures suggests narratives, making the photographs temporal, as if they are stills from moving images. Gormley paints as well as takes photographs and his photographs have often been likened to paintings, he says ‘they are not paintings they are photographs but the attitude to making them is perhaps carried over from what I do with painting: what happens if you put this colour paper and this image together and you crop here and, suddenly, you have a new image that makes you very excited, you see that it does something.’’ Gormley treats the photograph as an object and has a unique method of using degraded photographic paper to make prints, the paper takes on shades of green, pink and ivory and affects the whole tone of an image. The framing used in the exhibition plays on the quality of the papers used and exposes its materiality. the prints either hang from their top edge in box frames or rest, unmounted, inside wide perspex sleeves. This was Gormley’s second solo-show at Son Gallery, having exhibited both his Cars and Bushes series here in separate exhibitions in 2010. Gormley has worked with Son Gallery on other projects including the participation of Brickhouse, an experimental exhibition platform he curates with Thomas Bush, as a publishing group in The Copeland Book Market this summer. Gormley co-runs club night and record label Top Nice, which has also put on events at the gallery. The artist himself produces music, DJing regularly under the name of Enchante and in July 2011 he released an EP on Greco-Roman records. Born in London, 1985, Gormley studied at St. Martins, Brighton University and completed a BA in Fine Art at Goldsmiths in 2009. On 19 October the artist was in conversation at the South London Gallery as part of The Conch series. On 2 November an exhibition of related new works was shown at Darbyshire on White Lion Street, London. On 23 November there was a publication launch at Son Gallery with images by Gormley and designed by Thomas Bush. <img src="http://payload104.cargocollective.com/1/7/240154/4380335/Guy_Gormley Inside_Polytunnel Son_Gallery 2_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload104.cargocollective.com/1/7/240154/4380335/Guy_Gormley Inside_Polytunnel Son_Gallery 2_o.jpg" data-mid="23186107" border="0" align="left"/> <img src="http://payload104.cargocollective.com/1/7/240154/4380335/Guy_Gormley Inside_Polytunnel Son_Gallery 3_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload104.cargocollective.com/1/7/240154/4380335/Guy_Gormley Inside_Polytunnel Son_Gallery 3_o.jpg" data-mid="23186109" border="0" align="left"/> Guy Gormley Inside Polytunnel 12 October 2011 - 26 November 2011 At Son Gallery & Darbyshire Project Space Image: from exhibition invitation Gormley’s... http://www.songallery.co.uk/Guy-Gormley-Vigil-1 http://www.songallery.co.uk/following/songallery.co.uk/Guy-Gormley-Vigil-1 Sat, 03 Nov 2012 11:50:39 +0000 Son Gallery 4370180 Upcoming: Guy Gormley Vigil Opening: 23 November 2012, 6.30 - 8.30pm 24 November - 21 December <img src="http://payload103.cargocollective.com/1/7/240154/4370180/Guy_Gormley Vigil Son_Gallery_440.jpg" width="440" height="330" width_o="600" height_o="450" src_o="http://payload103.cargocollective.com/1/7/240154/4370180/Guy_Gormley Vigil Son_Gallery_o.jpg" data-mid="23121952" border="0" align="left"/> Vigil: Exhibition & Publication Guy Gormley's latest exhibition and publication show a series of images taken during a nocturnal walk from the peripheries of South London to the sea over three consecutive nights. Together they build a picture of the artist's state of mind on this solitary excursion. The photographs show tunnel-like rural roads, traces of undergrowth or barely seen horizons illuminated by the camera flash or scarce ambient light. They suggest a tense atmosphere; the photographer alert to unknown surroundings. In the publication, alongside the images, are descriptions of remembered dreams; notes made by Gormley on waking. They depict ill-defined landscapes pervaded by a sense of danger and unrest. The photographs relate to certain aspects of these records and Gormley intentionally blurs the distinction between his own dream and waking lives by photographing at night. Gormley is conscious of the object-ness of a photograph; exploiting both the papers weight, texture and tone as well as methods of framing. He has a unique method of printing on degraded photographic paper which has itself developed a tone, often pale green or ivory, and influences the underlying cast of the image. Upcoming: Guy Gormley Vigil Opening: 23 November 2012, 6.30 - 8.30pm 24 November - 21 December Vigil: Exhibition & Publication Guy Gormley's latest exhibition... http://www.songallery.co.uk/free-frame-1 http://www.songallery.co.uk/following/songallery.co.uk/free-frame-1 Thu, 01 Nov 2012 06:20:50 +0000 Son Gallery 4358338 free frame group exhibition Guy Gormley, Tom Lovelace, Aaron Murphy & Andrzej Welminski 25 February – 31 March 2012 <img src="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 1_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 1_o.jpg" data-mid="23049617" border="0" align="left"/> Layering and sequencing, in this exhibition seen in Andrzej Welminski’s photo-chemical drawings, Aaron Murphy’s photo-montages, Tom Lovelace’s light affected readymades and with Guy Gormley’s lo-grade digital images, are formal consequences of a desire to compile or refine visual information into confined spaces in a dynamic and porous manner. <img src="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 2_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 2_o.jpg" data-mid="23049618" border="0" align="left"/> Image: Tom Lovelace Tom Lovelace describes the works in this exhibition, which are 3 of a series of 15, as ‘sun objects’ or ‘photographic sculptures’. These pictures, found shop-display-boards, have been raised to a revered level of contemplation by a careful choice of framing. By this act Lovelace expresses a need for us to disengage from the traumas of work and instead to admire work done by imperceptible forces, the suns rays, and to be sensitive to what already exists. In a recent essay on labour in art Liam Gillick writes, “It is a continual flow between states of engagement and disengagement that provides potential and allows us to understand the why of production as opposed to the what.” Other series by Lovelace, including ‘Machine Studies’, a group of fake, apparently useless machines, and ‘Preparation for the Real’, involving raw building materials used as plinths on which the artist stands, his body disappearing out of the picture frame, also address questions of usefulness, work and beauty. <img src="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 3_440.jpg" width="440" height="362" width_o="600" height_o="493" src_o="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 3_o.jpg" data-mid="23049619" border="0" align="left"/> Image: Guy Gormley Guy Gormley presents a series of images made from lo-grade digital files, their materiality exposed as they rest unmounted in wide perspex sleeves. His subjects allude to the hidden or private but are often situated in the public eye, in this case surveys of English landscapes. In a text written recently for the South London Gallery’s Conch series Michael Grieve describes, “...the wonderful conversation between the form and the subject matter of Gormley’s photographs, the pixelated BB [blackberry] prints return to the pictorialism of the want to be art photographers during Alfred Steiglitz’s day in the early 20th century. Those photographers produced work that echoed painting and so made impressionistic like photographs. Gormley’s pictures break up the object, fragmenting it but not in a brutal way but neither in the naïve romantic style of those pictorialists. This work knows itself, with every aspect thought through; the relationship between the limitations of the technology and how it manifests and what this means in relation to the subject, how does it change the way we perceive what is photographed?” <img src="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 4_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload102.cargocollective.com/1/7/240154/4358338/free_frame Son_Gallery 4_o.jpg" data-mid="23049621" border="0" align="left"/> Image: Left, Andrzej Welminski; Right, Aaron Murphy Aaron Murphy exhibits works from his ‘Silence’ series, photo-montages which incorporate found as well as new imagery – the single, framed polaroid is also Murphy’s, an example of an image that might become part of a montage, but here is given its own place. Currently writing a Practice-led PhD on metaphor, narrative, rhythm and landscape, Murphy’s work is noted for its looping and suggestive content as well as a highly skilled digital manipulation of photographs. He describes the pictures: “The palette of these prints is simple and monochromatic; each one beginning with a sheet of blue airmail paper, and cut with a window to hold an aging vernacular photograph – the majority of which came from the same album of family photographs. ...After scanning these blue sheets, I masked the people of the photographs with traces of other scanned surfaces: random and dusty pieces of darkroom paper, or cut-outs from other prints. The effect of these surfaces is similar to screenprinting, with each patch of additional texture containing a singular colour. This screening has a theatrical quality, with the blue window becoming a stage and the extra surfaces acting as curtains and background. A setting has been built over the faces in these old photographs, creating an unusual silence from playful and theatrical staging.” <img src="http://payload102.cargocollective.com/1/7/240154/4358338/SG.FREEFRAME-33-9_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload102.cargocollective.com/1/7/240154/4358338/SG.FREEFRAME-33-9_o.jpg" data-mid="23049622" border="0" align="left"/> Image: Left, Aaron Murphy; Right, Guy Gormley Andrzej Welminski lives and works in Poland, since 1973 as a member of Tadeusz Kantor’s Cricot 2 theatre company and in close relationship with the Foksal Gallery. His art evokes universal themes about life and death, entrapment and escape, and our relationship to individual and collective histories. In the triptych on display, ‘In Ruins’, he develops parts of photographs on found paper and paints with photo-sensitive emulsion, allowing it to congeal in wells and cracks in the page. The work addresses the history of his native country, particularly in relation to the censorship and devastation inflicted on its people and culture by foreign occupation. Welminski uses receptacles, which double up as sculptures and objects used in performances, into which he puts drawings before flushing photo chemicals through each to affect the surfaces. By its nature photography gives a sense of permanence – of its ability to put a stamp on time and memory: Welminski couples this with the spontaneity of drawing. free frame group exhibition Guy Gormley, Tom Lovelace, Aaron Murphy & Andrzej Welminski 25 February – 31 March 2012 Layering and sequencing, in this... http://www.songallery.co.uk/Yuri-Pattison-focal-plane http://www.songallery.co.uk/following/songallery.co.uk/Yuri-Pattison-focal-plane Thu, 01 Nov 2012 06:10:39 +0000 Son Gallery 4354206 #entry_3541493 { display: none!important; }#entry_3382827 { display: none!important; }#entry_3541350 { display: none!important; }Yuri Pattison focal-plane 9 December 2011 - 11 February 2012 <img src="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 1_440.jpg" width="440" height="330" width_o="600" height_o="450" src_o="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 1_o.jpg" data-mid="23025824" border="0" align="left"/> In Yuri Pattison's installation 'focal-plane', traditional museum vitrines are used as a display area for screens playing video material. This includes found video from nuclear surveys, carried out in the aftermath of the Japanese earthquake in 2011, a series of shots taken by Pattison at the derelict site of the 2004 Athens Olympics, recordings of holographic cigarette adverts and a simulated tour around an art gallery. His subjects pit the functionality of technology against their aesthetic. Pattison’s display methods elevate the impermanence of the digital file alongside the permanence of traditional artistic media. He says, “this mirrors my interest in how the internet has collapsed time: that while everything is changing at an amazing pace, the recent past is also as present as ever.” A semblance of permanence follows: for example, in the ever-presence of current affairs or in the inextinguishable traces of our activities on social networks. As a result, dystopic themes recur as an increasingly accessible past haunts the increasingly disposable now. <img src="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 5_440.jpg" width="440" height="330" width_o="600" height_o="450" src_o="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 5_o.jpg" data-mid="23025832" border="0" align="left"/> The dystopic element is countered by the creative opportunities afforded by a key facilitator of this haunting, accessibility: A virtual tour around a museum of contemporary art is hijacked by the artist and the backlit prints that are scattered on the end wall of the gallery – displayed as if resized, dragged and dropped on a computer screen – are whimsical images drawing on connectivity and construction. Further to this, Pattison’s website focal-plane.org, an ongoing projects, is a labyrinth of images and links charting his own observations, on travels and excursions, found imagery from related research, as well as documentations of artworks and collaborations. The portrait is of an artist intimately connected with a diverse series of networks and with an eye fascinated by the often extraordinary forms that ground this connectivity in the physical environment. The gallery itself, painted in an unconventional, neutral colour and with the vitrine packing cases left in situ, subverts the conventions of a white cube gallery and further focusses attention on the physical manifestations of Pattison’s content. Yuri Pattison (b. Dublin) studied at Goldsmith’s College of Art and currently lives and works in London. His practice explores digital media and his projects often include elements of networking, using online platforms, and collaboration. As well as pursuing his own practice he works within the collaborative framework of LuckyPDF. <img src="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 4_440.jpg" width="440" height="330" width_o="600" height_o="450" src_o="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 4_o.jpg" data-mid="23025830" border="0" align="left"/> <img src="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 2_440.jpg" width="440" height="587" width_o="525" height_o="700" src_o="http://payload102.cargocollective.com/1/7/240154/4354206/Yuri_Pattison focal_plane Son_Gallery 2_o.jpg" data-mid="23025827" border="0" align="left"/> Yuri Pattison focal-plane 9 December 2011 - 11 February 2012 In Yuri Pattison's installation 'focal-plane', traditional museum vitrines are used as a display... http://www.songallery.co.uk/The-Function-of-the-Oblique http://www.songallery.co.uk/following/songallery.co.uk/The-Function-of-the-Oblique Thu, 01 Nov 2012 06:00:54 +0000 Son Gallery 4354113 ‘Action’ The Function of the ObliqueSebastian Acker, Nicolas Feldmeyer, Shan Hur, Minae Kim, Jinhee Park, Tobias Zehntner 22 June - 28 July 2012 <img src="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 1_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 1_o.jpg" data-mid="23025379" border="0" align="left"/> Curated by Attilia Fattori Franchini ‘Action : The Function of the Oblique’, presents a series of artistic responses to the eponymous work of architectural theory by Paul Virilio and Claude Parent. Their theory declares ‘the end of the vertical as the axis of elevation’ and ‘the end of the horizontal as the permanent plane’. The concept of the oblique was presented as a new mode of appropriating space, promoting continuous, fluid movement and forcing the body to adapt to instability. The artists in this exhibition use concepts of the oblique as a destabilising force, creating imbalance and unexpected outputs by employing a variety of media to challenge traditional conceptions of space. <img src="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 2_440.jpg" width="440" height="352" width_o="600" height_o="480" src_o="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 2_o.jpg" data-mid="23025382" border="0" align="left"/> Sebastian Acker (b. 1981, Germany), lives and works in London. Acker has a background in space design and installations reflecting on the configuration of space individually and socially. Acker is currently studying an MA in Sculpture at the Slade School of Fine Art. His work is informed by notions of space and materiality, and how this relates to the urban and physical world. <img src="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 7_440.jpg" width="440" height="273" width_o="600" height_o="372" src_o="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 7_o.jpg" data-mid="23025404" border="0" align="left"/> Nicolas Feldmeyer (b. 1980, Switzerland) lives and works in London. After studying architecture in Zurich and fine art in San Francisco Feldmeyer is currently taking a masters at the Slade School of Fine Art. His work explores notions of space and its articulation through different media. <img src="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 3_440.jpg" width="440" height="660" width_o="600" height_o="900" src_o="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 3_o.jpg" data-mid="23025386" border="0" align="left"/> Shan Hur (b. 1981, Korea) lives and works in London. Hur holds an MFA in Sculpture from Slade School of Art and has exhibited extensively in the UK. His sculptural interventions disrupt the viewers perception of the white cube, directly implicating the gallery space as an active element in the artwork itself. <img src="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 6_440.jpg" width="440" height="660" width_o="600" height_o="900" src_o="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 6_o.jpg" data-mid="23025400" border="0" align="left"/> Minae Kim (b.1981, Korea) lives and works in London. Kim’s works are based on the urban or structural environments present in everyday life. She observes, reflects and reverts the physical and conceptual function of that which is hidden or un-noticed. Kim holds an MA in Sculpture from the Royal College of Art and her work has been recently part of New Contemporaries ICA. <img src="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 4_440.jpg" width="440" height="660" width_o="600" height_o="900" src_o="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 4_o.jpg" data-mid="23025392" border="0" align="left"/> Jinhee Park (b.1979, Korea) lives and works in London. Park holds an M.F.A from Goldsmiths College, London, and an M.F.A in Sculpture from Seoul National University, Korea. His work records the traces left in nature of certain occurrences or events. Time and change are reflected in Park’s practice as a spatial visualisation characterised by interventions on common materials such as untreated wood. <img src="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 5_440.jpg" width="440" height="660" width_o="600" height_o="900" src_o="http://payload102.cargocollective.com/1/7/240154/4354113/The_Function_of_the_Oblique Son_Gallery 5_o.jpg" data-mid="23025396" border="0" align="left"/> Tobias Zehntner (b.1983, Switzerland) lives and works in London. Zehntner holds a BA from Goldsmiths College of Art. His work is concerned with science, art and architecture as hybrid tools to explore phenomena. His contemplative view of the mundane and urban environments reveals an interest in modernist aesthetics and compositions, while the focus on movement leads to a choreographical approach to synchrony and symmetry. Attilia Fattori Franchini is an independent curator based in London. She holds a BA in Economic for Arts, Culture and Communications from Bocconi University, Milan, Italy and a PGD in Contemporary Art History from Goldsmiths College, London. Co-founder of the online gallery bubblebyte. ‘Action’ The Function of the ObliqueSebastian Acker, Nicolas Feldmeyer, Shan Hur, Minae Kim, Jinhee Park, Tobias Zehntner 22 June - 28 July 2012 Curated... http://www.songallery.co.uk/Tom-Lovelace-Work-Starts-Here http://www.songallery.co.uk/following/songallery.co.uk/Tom-Lovelace-Work-Starts-Here Thu, 01 Nov 2012 05:57:28 +0000 Son Gallery 4075848 Tom Lovelace Work Starts Here 22 June - 28 July 2012 <img src="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 4_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 4_o.jpg" data-mid="23022643" border="0" align="left"/> Lovelace’s photographs of industrial materials poised in temporary compositions present unusual shifts in function and aesthetic value whilst evoking complex relationships with histories of sculpture and performance. In the photographs the industrial materials are carefully positioned, drawing attention to their sculptural attributes: varying degrees of tension, balance and weight creating dynamic portraits. In some of the photographs a person, perhaps the artist carrying out a performance, is partially seen engaging with the objects. Some of the objects which the artist photographed, as well as one which the artist fabricated himself, were also exhibited in the gallery space. This cross referencing of image, object and intervention creates a cyclical relationship between sculpture, photography and performance. These are interests that underpin Lovelace’s practice. The meeting of industry and art is also a principle theme. The raw materials that Lovelace draws our attention to are normally functional apparatus used in construction. In Work Starts Here, however, these materials enter the realm of art and immaterial ideas – conceptualised, often in a playful manner, and revealing disparities and dependencies between both worlds. <img src="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 1_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 1_o.jpg" data-mid="23022636" border="0" align="left"/> <img src="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 2_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 2_o.jpg" data-mid="23022639" border="0" align="left"/> <img src="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 3_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload88.cargocollective.com/1/7/240154/4075848/Tom_Lovelace Work_Starts_Here Son_Gallery 3_o.jpg" data-mid="23022640" border="0" align="left"/> Artist Biography: Tom Lovelace is an award winning artist living and working in London and exhibiting across Europe. He studied Photography and Art History at the Bournemouth Arts Institute and Goldsmiths College, London. Recent solo exhibitions include Gouge (Galleri Image, Aarhus, Denmark, 2011) and Object Anonymous (Son Gallery, London, UK, 2011). Recent and upcoming group exhibitions include ProjectB Gallery (Milan, 2012), Flowers Gallery (London, 2012), and Oriel Davies (Newtown, 2012). His work has been selected for the Terry O’Neill Award, published in Source Photographic Review and featured in the book New Danish Art 11. Most recently he has been awarded an Anna Mahler Residency in Spoleto, Italy, where he will engage with the legacies of David Smith, Sol Lewitt and Italian masters such as Giotto in the process of making a new body of work. Tom Lovelace Work Starts Here 22 June - 28 July 2012 Lovelace’s photographs of industrial materials poised in temporary compositions present unusual shifts... http://www.songallery.co.uk/Sophie-von-Cundale http://www.songallery.co.uk/following/songallery.co.uk/Sophie-von-Cundale Tue, 02 Oct 2012 11:54:10 +0000 Son Gallery 4075724 Sophie von Cundale PAMI 2012 Screenings 'The Garden', Son Gallery 19 - 23 September, screenings every half hour <img src="http://payload88.cargocollective.com/1/7/240154/4075724/SOPHIEVONCUNDALE_2012_THEGARDENloers_440.jpg" width="440" height="248" width_o="709" height_o="399" src_o="http://payload88.cargocollective.com/1/7/240154/4075724/SOPHIEVONCUNDALE_2012_THEGARDENloers_o.jpg" data-mid="21367585" border="0" align="left"/> 'The Garden' is a short history of the future, beginning with the privatization of the Large Hadron Collider in 2012. The project was developed over two years, taking the form of a performance with live music at the Serpentine Garden Marathon 2011 and as a trailer with a script reading at The Gate Cinema. The exhibition at Son Gallery, as a science fiction film and installation, is perhaps the works final and most ambitious manifestation. Sophie von Cundale (b.1987) is a video artist who lives in Peckham and is currently studying at the Slade School of Fine Art. Recent work has been shown at The Hannah Barry Gallery, The Serpentine Gallery Garden Marathon 2011, Sketch London and published in The White Review. PAMI is the Peckham Artist Moving Image festival. The gallery will be open from 12 - 6 on all days of the festival. <img src="http://payload88.cargocollective.com/1/7/240154/4075724/Sophie_von_Cundale PAMI Son_Gallery 3_440.jpg" width="440" height="660" width_o="600" height_o="900" src_o="http://payload88.cargocollective.com/1/7/240154/4075724/Sophie_von_Cundale PAMI Son_Gallery 3_o.jpg" data-mid="23050584" border="0" align="left"/> <img src="http://payload88.cargocollective.com/1/7/240154/4075724/Sophie_von_Cundale PAMI Son_Gallery 2_440.jpg" width="440" height="293" width_o="600" height_o="400" src_o="http://payload88.cargocollective.com/1/7/240154/4075724/Sophie_von_Cundale PAMI Son_Gallery 2_o.jpg" data-mid="23050578" border="0" align="left"/> <img src="http://payload88.cargocollective.com/1/7/240154/4075724/Sophie_von_Cundale PAMI Son_Gallery 1_440.jpg" width="440" height="287" width_o="600" height_o="391" src_o="http://payload88.cargocollective.com/1/7/240154/4075724/Sophie_von_Cundale PAMI Son_Gallery 1_o.jpg" data-mid="23050619" border="0" align="left"/> Sophie von Cundale PAMI 2012 Screenings 'The Garden', Son Gallery 19 - 23 September, screenings every half hour 'The Garden' is a short history of the future,...