Unsteady ~ 26 may to 25 june 2006
 
studio 1.1
london e2

text | images  
about 

present show 

past shows 

press 

gallery details 

contact 
  Craig Andrews, Rafael Sanchez & John Summers

A show taking its tenor from the 1972 classic 'film maudit' "Malpertuis" by Belgian director Harry Kumel. Photography, drawing and sculpture. Approaching the mystery of 'subject' (and the subject of mystery) from three different angles.

Craig Andrews

As if he didn’t trust his own eyes, Craig Andrews reverses the cinematic formula, photographing night for day. The hours-long night-time exposures however are not chosen to display the transience of some event-led human melodrama, but to bear witness to the long periods when nothing has happened. The implacable fact of the drama collapsed flat in the interstices. The light is made, amplified by the exposures and further by the time in development; the colours come from nowhere, the scene is disquieting.

Rafael Sanchez

Drawings, notes, half-finished doodles, there is a plan here, notes for future reference – something will come of it. It will be built up and we might recognize it if there was another clue, but that’s not it – I wrote that a long time ago and can’t quite decipher what I might have been referring to. Let me retrace my steps – the path can be found as long as I start from the same point. But where was I? Mapping, the tragedies of objects sold or stolen. Belongings that have moved on, books that have turned a page, images that have lost their footing.

John Summers

At first sight his sculptures look like nothing on earth, then there are intimations of the sublime terror of a John Martin painting. Summers, out of the inchoate mass of materials forming part of the world that surrounds us, coheres a new world that somehow wishes itself into existence. There is in his works a necessity, even a fatalism in their forms. No matter what he does to them they will end up the way they do. The meeting at Samara is unavoidable. The nowhere that these forms come from is present with us now.


"And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?"

Malpertuis

As we step off or on to an escalator without our full attention there is a sensation of weightlessness such as a sailor has to accustom himself to each time the ship breaches a wave. Matthieu Carriere leaves his ship and with that odd stalking walk follows a path through streets that twist him further from any imaginable goal. Yet there is an inevitability in his destination. He is being followed by a story that he is unaware of his part in.

Studio 1.1


For more information or images contact:
Michael Keenan on 07952 986 696