May 12th - 20th
Majed Aslam, Bryan Dooley, Damian Griffiths, Jack Lavender & Marianne Spurr
33a Shacklewell Street, London, E2 7EG
Twelve Around One is pleased to present Heat, an exhibition of new works by Majed Aslam, Bryan Dooley, Damian Griffiths, Jack Lavender & Marianne Spurr.
…through friction, through release, through potential, through transference, through proximity, through exchange, through movement, through retention, through work, through resistance, through shock, through waste, through flux, through pressure, through a spark…
…we proceed forward.
Takes a reductive approach to the various media he uses. With Aslam’s painted works, using acetone, he strips the pigment from inkjet prints, thinning the pigment against the white surface. Aslam applies a similarly reductive approach to digital images, whose excessive scale when displayed transforms the generous provision of information into an oblique and ambiguous gesture.
Begins with the exquisite techniques of mechanical reproduction that are offered from the large format view camera, only to undermine this veracity through collage, digital manipulation and non-standard printing techniques such as adhesive vinyl or polymer fabrics. These strategies open up new polyvalent modes of viewing the photographic object.
Does not believe in anything. And yet his work rests upon the certainty of aperture, shutter speed and film speed. What can be learnt from these minimal assurances is the basic question that drives the work. In these new works Griffiths is beginning to revisit the photograph in its proximity to objects of support.
Reworks the everyday ephemera from a time hitherto what we know as now. With a dexterous light touch what could have been thought of as throwaway is reframed as an icon. It’s gloss restored, all be it with a subverted motive.
Her work holds an uncertain territory between the image and object where one is never quite able to escape the other. The image is always manifest in it’s explicit objecthood and the object is forever partial to its distilled image. This is because for Spurr, the work does not end at the limits of its surface or objecthood but continues into the contingency of the world at large.