A CONSTABLE FIRMAMENT________________New work by Joshua Uvieghara17. Nov - 24. Nov 13 / ended Community Arts Centre
As always, free
The Centre is open Friday - Sunday 2 until 6
A CONSTABLE FIRMAMENT
A new exhibition
OPENING: 16.11.13 19.00
EXHIBITION: 17.11.13 - 24.11.13
GALLERY OPEN: FRI - SUN 14.00 - 18.00
ARTIST TALK: 17.11.13 15.00
PAINTING AND CINEMATOGRAPHY:
Discussion led by Andrea Slater
All events are free
Supported by Arts Council England
The 'Constable' of 'A Constable FirmamenT', refers to the work of English landscape painter John Constable (1776 – 1837). Specifically, the work that Constable created plein-air in response to a number of locations in and around Brighton. These 'sites' are primarily of clouds, which hold a particular resonance for Joshua Uvieghara. Using these 'sites' as a primary resource, Joshua Uvieghara will interrogate the notion of the contemporary plein-air painter as a prescient means of (re)producing landscape painting,
Whilst the tradition of plein-air painting is “as-old-as the-hills”, this historical approach will discover new energies by the introduction of new technologies for representing landscape such as film and photography, whilst benefiting from Uvieghara'singular and idiosyncratic approach to panting.Central to this proposal are a number of points of connection between the concepts of the domestic and that of the sublime, or the natural world.
These include materials that are in-themselves “domestic” or domesticated such as household paint, satellite dishes, plasma / LCD TV screens and co-axial cables. The exhibition attempts to re-imagine what is unknown / unknowable about our celestial landscape using a variety of media - painting, photography, film and installation. The romantic notion of the sublime shall be reinterpreted via an influx of new technologies and media, most of which we can all find at home.
Following the footsteps of John Constable, the ineffable, or our celestial landcape surrounding Brighton will be mediated, or tamed through new and old techniques of representation. This approach, and their resulting documents will become the focus for a new and 'site-specific' body of work, which will seek to infuse modern digital media commodities, traditional landscape painting and English (and local) art history with a new sense of wonder. Tempting us to reconsider our contemporary ideas of the sublime.
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