Corinne Charton - Lips and satire

7 Feb 2019 – 24 Feb 2019

Event times

Thursday -Sunday, 12.00-6.00pm

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The Muse Gallery

London, United Kingdom


Travel Information

  • Buses: 52, 23, 7, 70
  • Nearest Tube Stations: Ladbroke Grove and Notting Hill Gate
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Corinne Charton - Lips and satire

7-24 February

Opening Night 7 February, 6.30-9.00pm


The Muse Gallery proudly presents

Corinne Charton

Lips and satire

7-24 February 

Opening Night 7 February, 6.30-9.00pm

Corinne Charton’s video practice explores altered narratives and involves experimenting with fragments of footage from Movies and TV series and footage she filmed such as in “(Paroxysms erupting because) Mr Rochester does not quite get it”

These brief clips are deeply influence by the artist Martin Arnold’s work, especially Passage à l'acte from 1993, a short clip from the film "To Kill a Mockingbird" that he re-edited and made in to 12 minutes piece.

She splices her chosen clips into small fragments usually between 1-5 frames each, then repeat and repositions the frames in a different order from how they was originally meant to be viewed, often resulting in a small visual vignettes that disturb, disrupt and even discombobulate. 

Her aim is to remove her short films from the usual rather passive event of watching a Movie where one sits down and enjoy (or not) what is occurring on the screen. The plot is laid out, nothing much to do except to follow it. The repetitive repositioning of the frames produces work that is rhythmic both on the visual and audio level with at times quite funny results.

On some clips she removes the original sound and adds a new soundtrack as in “Cock fight”. This emphasises the obvious resentment the two male characters have towards each other in the original footage and adds a salient sense of unfortunate fate to the edited piece and conversely made the resulting short film where the men now are implicated in a strange disjointed macho “Dance Macabre”, ludicrously silly.

Two films are shot concurrently on two cameras, each frame serve as representation of an individual/s space/s. Here the positioning of the frames next to each other and the black space surrounding both frames on the screen is an attempt to negate the “out-of-field; that which exists elsewhere, to one side or around” (Deleuze 1986: 17)The out-of-field that potentially could be considered threatening as it cannot be observed. 

Corinne Charton was part of the first four AIR fifteen years ago and during her period at the Gallery her art practice involved childhood memories and iconography. 

Her collage characters created by painting figures, then gluing on eyes, lips and hair, then “dress” them up in cut outs from magazines are still associated with memories, but this time not as far gone; her time as a Fashion Model and one could easily see her using the collages as substitute for playing with and dressing old fashioned paper dolls.

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Corinne Charton


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