The Conversation (III), 2014

Exhibitions featuring this work:

Except The Mirror

Sophie Clements

Annie MacDonell

Tom Lovelace

Richard Paul

Melanie Stidolph

Alice Walton

Curated by Melanie Stidolph

 

Format Festival: Evidence

13 March – 12 April

Private View: Thursday 12 March – 18.30-20.30

Curator and Artist Talk: Saturday 11 April – 14.00

 

ArtSmith

109 Monk Street, Derby DE22 3QB

Monday - Saturday: 10:30 - 17:00

Sunday: 11:00 - 16:00

www.formatfestival.com

 

 

In this dynamic group exhibition six artists examine the question of contiguousness between seeing and believing. Through the mediums of photography, sculpture, installation and video these works explore the journey from internal process to external manifestation and the ultimately intimate relationship this forms between creator and viewer.

Here, the audience is invited to look beyond the obvious appearance of phenomena – from Tom Lovelace’s impossible exit from a tower of lumber which reveals the journey from thinking to action, to the precise references of Richard Paul’s studio still lives with its enquiry into objects as evidence– and to instead interpret their meaning by virtue of the act of placement and arrangement.

Elsewhere, the delicately angled forms of Alice Walton’s sculptures with their repeated act of precise editing are juxtaposed against the clattering timbers of Sophie Clements’s ‘There After’ with its balance between intentionality and chance, both revealing a long-term and highly individualised fascination with forms of representation. And beyond this, Annie MacDonell’s photoshop montages with their symbolism of archival images and the strategies of capture in Melanie Stidolph’s ‘Conversation’, complete with its flashes of camera equipment, knowingly reference their own making as much as they offer us an illusion.

When taken together these works are both private explorations and public invitations to look beyond that which is in front of us; to understand that we not only want to believe what we see but see what we want to believe. It is through this transaction, this act of engagement, that the apparent impartiality of objects becomes both filtered and redefined by the highly personal narratives we ascribe to them.

 

Funded by Arts University Bournemouth