Working in response to the space at Coleman Projects, the artists explore connections between their different practices, including a shared interest in architectural forms and the reverberative play of sound and colour.
Each work might be considered as a node within an underlaying matrix of potential relations; a reconfigurable array of edges, points and lacunae. There is a sense of tension to the collective visual/soundscape created, which makes palpable notions of sensory overlap, specifically between seeing and listening.
The front gallery space hosts new paintings by Ord and Milner, as well as a sculptural work by Ayyaz. In Rome, Ord made paintings in a variety of ancient, underground spaces, and often with little light. Milner is interested in the occurrence of intense moments of light glimpsed briefly, like the experience of emerging from a dark church into the glaring, midday sun. The shift that occurs from light to dark while travelling through the spaces at Coleman, from the bright gallery through to the large, dimly lit shed, draws attention to these qualities.
In her work, Emily Speed explores the relationship between architecture and the body. Her site-specific installation ‘Rubbed smooth’, at the rear of the gallery, takes the idea of the city as a palimpsest, where buildings rather than words are erased, rebuilt and replaced, and where inhabitants leave visible traces of their presence.
Seth Ayyaz is a London-based composer-performer who has been invited by the group to create a site-specific sound installation for ‘Dark Geometries’. He is interested in the idea of listening as an exploratory event and its role in cultural exchange. Ayyaz' live performance featuring an hQi.live machine listening system will take place at the private view in the shed space.