Schelde combines disparate elements that hover together on the edge of collapse, a moment as short as a sharp intake of breath. Whiteley represents something slower, where the components of her drawings float, transparently: a hovering projected object, a series of slides from a fictional lecture.
Schelde and Whiteley have made their work separately, in Copenhagen and Berlin respectively, but with a view to bringing it together in this exhibition. The impetus was a conversation in the spring of this year when the artists met for the first time, although each has had a relationship with Vane of over a decade. The conversation revealed a shared interest in the role of intuition in the drawing process. They acknowledged notable overlaps in their approach to making work. Both love the slow reveal as the process of drawing becomes a process of thinking, and both use printed source material as mental triggers for imagery, often combining images as if collaged, or caught in the middle of a cinematic cross-fade.
Indeed, cinema has a strong hold on the work in this show, which borrows from cinematic staging and a sense of tone and contrast that comes out of a love of the warm density of black and white film stock. There are ripples of David Lynch, moments of Alfred Hitchcock and his dramatic use of props and a debt to the films of Powell and Pressburger and their particular form of poetic realism.
Morten Schelde was born 1972 in Copenhagen, Denmark, where he currently lives. He studied at The Academy of Fine Arts, Fyn, Odense, Denmark, 1994-96, and The Royal Danish Academy of Fine Arts, Copenhagen, 1996-2001.
Flora Whiteley was born 1977 in Oxford, and lives in Berlin, Germany. She undertook an Apprenticeship in Printmaking, Atélier Contrepoint, Paris, France, 1997-98, BA (Hons) Fine Art, University of Newcastle upon Tyne, 1998-2002, and MA Fine Art, Chelsea College of Art and Design, London, 2008-09.
‘Parallel Lives’ is presented as part of DRAWING, a programme of exhibitions and events across the North East England region that pose the question: does DRAWING matter?