Interstice

About

Interstice is an exhibition of new work by Andrew Curtis, Michael Hall, Flora Parrott and Steven Scott; each artist developing a series of individual responses to the opportunities afforded by the TestBed1 project space. Consisting of diverse approaches to the use of photographic prints, text, sculptural forms and video projections, the show will evolve over time as the work is subject to an ongoing process of refinement; all four artists responding to new proximities, forming new alignments and enhancing shifts in the potential reading of their original intentions. The second part of Interstice will take the form of a published book of photographs, drawings and texts that extend the premise of the work in this exhibition. Processes of reassessment and realignment will continue through this publication and will be made available late 2010. - Andrew Curtis continues his interest in the surface facade of suburbia. For Interstice he will show a new work, Wild England, a slide show and accompanying material 'promoting' the Torbay Palm. He is represented by Nicola Scaglione Gallery in Italy and shows with Payne Shurvell in London (www.payneshurvell.com) - Michael Hall's work exists as a distillation of his encounters with mass media; carefully selecting examples from cinema, literature, music and television he endeavours to extend emotional readings beyond mere signifiers by fusing disparate images and text. For Interstice he is exhibiting a series of processed print works from his Monochrome Exasperation series. - Flora Parrott's work derives from a compulsion to explain a state of ‘being', a state that is always evolving and changing. She will be showing a series of sculptures and images that function as diagrams to explain the human compulsion to capture and contain. Flora is represented by Tintype Gallery London. (www.tintypegallery.com) - Steven Scott's video and light projections silently animate deconstructed grids and line drawings of site-specific perspectives. He endeavours to reveal relationships between these temporal drawings as coded representations of schematic space and the subjective nature of perception that struggles to decode these visual conventions as they play out over time.