How do we get there? From here to there, from one state to the next, from a statement to its consequence. With a foot still here, the other slides onwards and tests the ground to decide the best angle to pursue. Moving to go there, the body walks ahead but its eyes are turned backwards; both nostalgic and hopeful, it holds its departure and foresees its arrival, existing in the past as in the future, and perhaps in neither of them.
The objects and texts gathered in First movement look at notions of direction, both horizontal and vertical. The show considers linear progressions of size as in scales, it follows the simple movement of bodies from one space and time to another, as well as impossible inversions, impediments to orientation and expanded meanings: new directions are often synonymous with developments and societal progress.
Within the exhibition, many invisible arrows connect the works to each other in an infinite drawing of relations and open-ended reactions. Llewellyn-Jones’ interest in building materials and constituents is expressed through prints of increasingly magnified details and dynamic sculptural compositions. Ereira-Guyer presents a sequence of sculptures, prints of reflected images and photographs questioning the ways reality is defined and interpreted, a recurring theme in his practice. While Bond’s writing includes a series of vivid fragments about dizziness – describing what happens when orientation is complicated by excesses of information, bodily sensation or emotion - Damiani’s short essays bring attention to the subtle notion of the reverse: the opposite, the disruptive change of direction and opinion, and some imaginary prospects.
This shared common ground, the works and words around First Movement, are collected in a limited edition publication.