Schichtwechsel is the next plateau in a progression of investigative, exploratory approaches negotiating space. Stimulated from the success of the group’s inaugural, experimental exhibition Again From Here in December 2014, five artists present methods of translating their internal perceptions of space into the three dimensional realm using repetition. In Schichtwechsel, which can be interpreted as a change of layers, the artists deconstruct this shared interest to identify where their overlapping thoughts, methods and understanding start to separate into different territories.
At APT Gallery the artists present newly developed works amongst established pieces. By inhabiting a new environment, existing processes are tested and site responsive works can be pushed to new limits in the large space. Together the artists explore the emergence of form in their abstracted realities using a visual language created by the rhythm of repetition. These abstracted realities have the ability to transcend their physical location and suggest a place beyond what is present, closer to the origins of their conception.
Brigitte Parusel’s sculptures begin as circular lines that, on mass, form a pattern offering seemingly limitless structural possibilities. When folded, they break into physical space, with the potential to expand from sculpture into architecture. A series of movement diagrams by Zoe Schoenherr depict the body travelling around a pole. The repeated line reinforces and redefines the area of activity where a movement or gesture becomes ingrained into memory. Fiona Grady’s site specific wall drawings activate the environments they inhabit through a developed visual grammar. Responding to the character and features of their environment, they mimic the structure, light and ambiance of the space. Cecily Tattersall investigates how single layer images can tether space into new forms, and energises environments with her drawings and paintings through their confidence and physical presence. Hannah Luxton situates the self within the void instead of a position of observation. Embracing the Eastern principle that infinity is a positive space full of energy and light, she communicates depth and activates imagination through texture and lines, whilst exploiting the paradox of perspective and the immediacy of the painted surface.
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