The works in Whereas demonstrate a broadening of Ian Homerston’s approach to making. The various materials used in the works’ construction – cardboard, plasterboard, plaster dust, photographic emulsion, rainwater, paint – have resulted in a series of objects that are transitory and speculative.
Plaster dust is carved out of a surface; arranged on top; exposed to light, leaving an impression; and returned to where it was removed from. It is a migration and repositioning of matter, from one part of the material surface to another and then back again, rather than an accretion of material or a process of erasure.
Cardboard is coated with paint and light sensitive emulsion. Light and liquid are applied to the surface, fixing traces of themselves. What results functions as an indexical, physical record as well as a painted representation. In order to ‘catch’ what is being applied to it, the cardboard is given a boxlike, receptacle form. It resembles an inversion of a conventional painting support, a switching of surface from front to back.
The processes under consideration suggest a subtle refocussing towards the temporal aspects of painting things/ making things: A focussing on the time it takes for things to be recorded, the time it takes for things to be revealed, and the time it takes for latent elements to come to the surface.
Whereas is a conjunction, a part of speech that connects. A way of describing how two related things might be different.
Ian Homerston, b.1984, Recent exhibitions include Transparent Means, COLE, London, 2012, Young London, V22 Workspace, London (2011), What If It’s All True? What Then? (Part II), Mummery + Schnelle, London (2011), Needed By Things, Furnished Space, London (2011), New Contemporaries 2010, A Foundation, Liverpool/ ICA, London (2010), The Drifting Canvas, COLE, London (2010)
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