Cantilever Left offers imbalance to systems of structure. The works presented redress architectural considerations of the urban environment, uprooting the historic past within the incongruous homogeny of the modern day global city. The works collectively unhinge considerations of urban space, reconciling it as still image the works address an architecture of multifaceted materiality and optical distortion.
Sangbin Im resolves through digital manipulation single photographic images. The works are derived from photographs taken by the artist whilst travelling within the environment that becomes the pictorial subject of her work. There is performance, process and spectacle to the work, and the outcome of its performative underpinning becomes evident in the spectacle of its fractured, offbeat, and overlaid geometry.
Helena Ben-Zenou creates stark linear works that address a decentred attachment to the urban landscape. Compositional conventions of horizon line and ground-rendering perspectives are replaced by geometric lines that slant across the pictorial surface of the paintings informing detached architectural support structures such as ladders and aerial walkways. The works inform an industrial heritage; removed from nostalgia they celebrate the megalithic achievement of the built environment, and draw social and political lines towards the constant palimpsest of urban regeneration.
Yujin Kang's large-scale paintings of fractured urban environments are ones in which tower blocks rise across a spliced landscape of avenue and cropped vista. Within each work we find multiple points of perspective, aspects of the city that map onto our experience of them as we travel through their densely packed streets, turning corners and catching glimpses of buildings, shops, parklands and apartment windows.
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