A.P.T. Gallery in collaboration with four artists invites you to Colliderscape. In addition to paintings and large-scale drawings, the exhibition will include assemblages, soundscape and multi media installation.
Colliderscape brings together the work of three visual artists and one sound artist, who explore, in different ways, the various intersections of physical nature, technology, simulation and culture. Each artist is interested in the impact of culture, in one form or another, on our relationship with landscape, whether virtual, imagined or real. The potential of technological processes to replicate nature and mediate in its representation is one strand of this enquiry. The dichotomy of pairing authentic with synthetic and handmade with computer generated is another. A third strand explores the cultural meanings placed on sites of nature.
The work of each artist weaves through these three strands, opening out visions of both past and future, whereby an enigmatic entity emerges between authenticity and imitation. This enigmatic entity is the focus of the work presented in the show.
Paul Ridyard’s work explores the confines and interrelationships between nature and the visual conventions of its history and representation in a theme he calls ‘The Wildernesque’, his interpretation of the mediated landscape. Ruskin’s idea of ‘pathetic fallacy’ is of particular interest to him as it attests to our tendency to project images and ideas onto nature that are the result of underlying cultural constructs.
Nicki Rolls works with film, painting, drawing and installation to produce works which explore cinematic and virtual worlds, and the tension which arises between the natural world and its appropriation by technological process. She seeks to interrupt and break down this process, attempting to wrest the image from the grasp of new technology.
In Jacqui Wedlake Hatton’s representations of woodland, the inaccuracies of visual memory and the unreality of photographs are made evident, together with further distortions arising from the physical and emotional sensitivity to being in a wood. In parallel to those distortions, deliberate inconsistencies, particularly in her paintings tease the viewer – testing expectations of what the work is.
Andy Clemson’s initial recordings adhere to basic phonographic values, which are then abstracted by superimposing synthesized sounds within the field recording. The use of binaural microphones achieves “distorted proximity effects and haphazard directionality”. This process produces multi layered, multi-faceted soundscape with many sub-categorisations metamorphosing into one another.