The works within this exhibition present competing notions of duration. Both of time as the strength and presence of a gesture, as found with moving image works; but also time as the duration of art as language. 

As language, art has a dual role in both shaping and being dependant on context and the increasingly complex notions of proximity which is presented by the internet effects a change; achieved not only in the way it informs and disseminates information about and as art, but also as an instrument of classification representing a system of thought; in which simultaneous modes of cognition serve to mediate, incorporate, and indeed equally to relegate, once autopoietic, systems within its purpose. 

This new language and architecture of encounter offers an anachronic reading of everything and art as a chronological discipline feels this rupture more profoundly. A test of art’s duration can be measured in the degree to which an object exceeds it’s context; it is now, however, the prevalence of this meta-encounter, which runs both concurrently to and simultaneously concludes it’s subject, which provides the mode in which an object is exceeded by it’s context, now, even prior to it’s existence.  

This system which anticipates and awaits any gesture, pre-supposing an altering of it’s proximity and context, an effect of which is to disrupt the long established and temporally guided mediation of aesthetics. The history of which has traditionally betrayed a sequence of progress, a process which is now both further enabled, as much as inadvertently denied, by the prevalence of the digital. A change in encounter, which more readily alters the modes of creation and with it the notion and space of authorship.

Samuel Dowd

Dowd’s videos reflect what he describes as a quest for idealised space. There lies between his video and sculptural works a tension; between the sculptural works aspiration for form and space and the non-narrative based films which through their temporal and reflective nature possess a memorialising function, yet which equally offer a sense of pathos to the un-realisation of the physical. 

Christian Hidaka

Hidaka’s paintings mediate references to two periods which greatly informed the depiction of the pictorial plane. That of the 1480’s, of Piero and the influence of Euclidean geometry, with composition dependant on and within the parameters of the frame; to the illusion of a limitless unfolding of digital space, which originated in 1980’s computer games. 

Sara Ludy  

A recurrent theme in Ludy’s works are that of window frames, which fold and collapse, turn and rotate in and on themselves. Expressed as gifs, the sequence of static frames, whose continuity is dependant on the coherent mutation of information frame on frame. The window, as metaphor for the space of encounter is, through the sequence of images and the duration of the work, continuously undone and remade.  

Ryan Mosley

As with a number of the artists in this exhibition, the subject of Mosley’s work appeals to and coheres with the nature and qualities of his medium. The mask, as expressed through his darkly mysterious subject matter and references to the occult serves as signifier to the medium through which it is expressed. As a process, Mosley’s use of paint builds steadily, obscuring as much as it defines. At the periphery of the more definite, surface marks lie the underlying layers from which the image builds.

Philip Root

As with both Hidaka and Mosley, Root’s work sits between periods of painting. His use of thin glazes and muddy, tertiary colour palate, is reminiscent of early 20th Century European painting, in particular the Bloomsbury Group painters. Root’s subject matter, equally, is founded in a more semiologically secure time, expressing layers of alterity, between both time and space. 

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