PAUL HAZELTON • REECE JONES • MATTHEW KILLICK • MINNIE WEISZ

About

Paul Hazelton is best known for his sculptures that are intricately constructed using household dust, he also works with cobwebs, hair, cut paper and toys amongst other materials. His work often focuses around ontology, myth, decay and creation. Born into the immaculate world of his mother’s obsession, a dustless childhood, Hazelton works continuously to create something from the dust of his and other people’s everyday lives. ‘Dust,’ he explains, ‘is the stuff that connects everything together. It is therefore the perfect medium. Art is like dust in that it is a by-product of living - it is the product of the breakdown and fusion of ideas and materials.’ 

Reece Jones makes drawings whose initial subject territories may be whimsical, improbable, impossible or theoretically muddled. Cross references, samples and complete fabrications are accumulated until an image is made manifest whose origins are potentially difficult to define. Process led, the works undergo rigorous, repeated application and removal. The results are atmospheric, and authoritative works, which belie their rudimentary material composition. Ultimately the viewer is invited to assess the legacy of surface, process, documentary, translation, actuality and illusion.

Matthew Killick has spent the last few years making paintings that were largely inspired by his underwater explorations. Now the work has brought in other influences. He describes the work as an attempt to bring together in harmony elements of naturally occurring patterns or structures, and man-made ones. Drawing from a diverse range influences, from urchin shells, whale skin, sand ripples, to galaxy formations, city lights and aboriginal paintings, he creates black and white paintings that he hopes capture something of the infinite. There is a sense of isolation yet connectedness that runs throughout this series of works.

Minnie Weisz has developed a photographic practice that simultaneously documents the interior and exterior of rooms by turning them into a camera obscura. Often working in abandoned and forgotten interiors across Europe, each room is a reflection of a past in the present, a witness to history, the changing landscape of the city and the shifting of time. Over the years she has photographed camera obscura and made film work. She describes the camera obscura method as “the key which unlocks a dialogue between interior and exterior worlds”. In this way two worlds collide, new spaces are opened up, each reflected in the other. The rooms become the eyes to the city.