Continuing his journey from night to day, Craig Andrews plots the spaces which can co-exist between the here of space and the now of time.
In a wall of photographs taken of a dilapidated and about-to-be-demolished Liverpool department store (snatched as the light faded on the last day of trading) and in a bank of monitors showing footage filmed laboriously (and secretly) over three long Winter/Spring months on the similarly derelict site of the 1984 'International Garden Festival' (currently being made ready for a possible re-opening), Andrews brings our peripheral vision into the foreground.
The video images have a stillness which we seek to animate and the photographs move as we move away from them - in the corner of each someone has left the scene or may enter stage right. Out of site.
In the garden of course, nature re-asserts itself; paths are overgrown: one strand of our passage through time is erased while others appear. Graffiti on a Chinese pagoda brings in one trembling image a glimpse of a future dereliction. But this is not a ghost of a fore-warned apocalypse but a vision of simultaneity - stasis both in a moment and for an aeon.
Though entropy and decay may ostensibly be the subject matter, Andrews continues a timeline which has no certain end - mapping spaces (much more than liminal) which we occupy only temporarily; spaces in which only time itself seems to breathe. Not the time arrested to make or satisfy an image but the time that we accompany half-consciously while we are doing something else.Whatever a tree falling in the forest sounds like, this is how it looks.
As we construct or dis-assemble each shot, taking cues from horizon/sightline or subject matter, the camera prompts us and we naturally assume a place for ourselves within the spaces unseen - but Andrews seems to have found a particular no-man's land where time and space can be felt. Uncrowded by too much of the 'viewer' or protagonist, the space between photographs is always at the back of our minds...
In the photographs cinematic space unfolds; in the videos it is held at bay as the picture-plane is enforced. Formally the work elides each medium's presumed core, stillness and motion; emotionally the work posits a new past - a universal past, an im-personal history.
'Here Space becomes Time'
'Time... is waiting in the wings, he speaks of senseless things..
..his trick is you and me, Boy'
David Bowie 'Aladdin Sane'