Seripop by Emma Balkind
Looming. Defined as:
A shadowy form that is large and probably threatening.
An event, which is threatening to happen.
A (maybe) exaggerated, vague first vision of an object in darkness.
A distant dim reflection barely visible.
Origins in Low German or Dutch such as lomen – move slowly.
Or lemenbe weary.
Veils Can Be Lenses, Cocoons Homes by Rachel Anne Farquharson
Hanna Hur’s latest body of work is informedor compelled, ratherby the constraints illness has visited upon her. Durations of solitude and muscular atrophy, paired with intermittent losses of lucidity, act as a veil through which the artist squints at her new life.
A Field Without Origin / Notes on Paintings for Electric Light by Craig Rodmore
These paintings, which are for coloured electric light, are not paintings of anything, and with the abandonment of the subject (architectural, natural) that had persisted in Hutchinson’s work until now, perspectival space within the painting is displaced by compositions based on an isometric grid whose size is determined by that of the brush that will be used.
Chorus: Rumination on the Nobility of Faces and Images by Yam Lau
When Ct set out to make The Chorus, I understand he was looking for a way to gauge the enormous transformation that has taken place in China since the era of Mao.
Sneaky Coexistence: the alchemy of the real by Camilla Singh
Faith La Rocque’s work takes shape from an unexpected mix of skepticism and belief. It arrives through the excavation of material histories and discovering the vagaries of cultural value they accrue over time.
Galileo’s Finger by Jen Hutton
Despite their reductive appearances, Groombridge’s work holds an indexicality or reference to the real. The forms are not entirely arbitrary; they are rooted in sourcesfacts, data, measurements; some common, some notor a system of his own devising. There’s a there thereyou just need to look harder to see it.
…the wing span of an owl, enabling flight… (rumination on the lives of two birds and a man) by Yam Lau
Regardless of the efficacy of my interpretation, its relevance is only warranted by that which eludes writing. After all “meaning,” according to Brian, is probably overrated. I undertake this writing exercise because I admire Brian’s character and his work.
Libby Hague: The Thread That We Follow by Michelle Jacques
Comprised of woodcut prints, shaped and pleated paper elements, and puppets that the audience is invited to move around via a system of wire tracks, the impression conveyed by the installation is of a story that both unfolds as a narrative around the perimeter thus implying the progression of time while it also exists as an absorbing and immersive experience in the present moment.