The Directors' Cut 2. Of our Methods of Recognising one another

About

Like many artists who curate and organise, Lubomirov and Easton's projects are an extension of their practice and a way to investigate their concerns through means larger than their own artworks. Since the first Directors' Cut in 2013, the duo have conceived and evolved a series of off-site projects, including Collateral Drawing, The Opinion Makers and Home.

Launched in Plymouth at the start of 2014 and travelling to Athens earlier this summer, Collateral Drawing has been an important investigative tool into their own residual mark-making. In 'Home', shown at Christie's in October 2013, they pushed the notion of the artist's edition, through hand-made unique multiples. The second Directors' Cut includes works made for these projects by Lubomirov and Easton, some of which have not previously been shown in London.

Lubomirov and Easton's work is radically different in conception, execution and material, but achieves a harmony through a common use of the grid. They both create structure by cutting and assembling large numbers of hand-made multiples, albeit in different ways. For both the need for a precise structure is not an end in itself, but a way of containing and inviting chance, just beyond the edge of human ability. They are thus able to ask relevant questions about making that are not couched in nostalgia, but are part of a larger resurgent discussion about craftsmanship and the role of the artist in the production of work.

In Easton's looming wall panels, a system of geometry orders the repetition of hundreds of hand-painted or printed patterns in a way that establishes a connection between images of architectural spaces and the pattern of the work itself.

Lubomirov grows sculptural pieces through a slow and laborious process of layering of grids drawn on thin materials, creating a spatial distortion of flat geometry.