Nick Kennedy, Mary Yacoob, Rachael Clewlow, Francesca Simon, Duncan Bullen, Ben Gooding, Patrick Morrissey, Hanz Hancock, Wendy Smith
An exhibition curated by Saturation Point
20 June – 1 August 2019
Preview 20th June – 18.00-20.00
THE NUMBER 8: The atomic number of oxygen, the bits in a byte, the primary planets in our solar system, the verticles in a cube…
In the exhibition 8 Lines, a group of eight artists respond to the number eight through a diverse range of drawing processes. Artists will explore the figurative, notional, mathematical, geometrical, and cultural signifiers of the number eight, considering visual systems, form and structure through drawing.
The artists will develop a personal enquiry that extends their experiences of using the drawn line in their individual practices, each of which encompasses drawing in various ways – planning, mapping, thinking, intervening, marking, executing to create new work. Use of materials and approaches to the subject will differ, but each artist will consider how acts of drawing contribute to a wider understanding of divergent artistic practices
Richard Serra’s notable declaration that ‘Drawing is a verb, not a noun’, suggests that drawing is a ‘doing thing’ rather than a static activity, and is a way to exemplify the artists relationship with drawing as a tool for active engagement and response.
The exhibition enables each artist to examine the generative capacity of drawing within their own practice, resulting in eight different ways to use the drawn line to explore a shared theme: 8 Lines.
These drawings are part of an ongoing series which explore the tonal variations of grey within a dark to light scale and are made using eight Faber Castell Polychromos pencils; black, white and six cold greys 1- V1.
Octagon is a large-scale site-specific vinyl artwork made for the Platform A gallery window. The piece is inspired by the Octagon, a building in Middlesbrough
The drawings - Octet (study 1) and Octet (study 2) - derive from two series, each of which charts a sequential progression from 1 to 10. For the purposes of the 8 Lines exhibition stage 8 was selected for further speculation.
In both drawings there is a deceptively simple underlying figure based on the
Initially, a tool is made which describes an arbitrary line that is drawn by hand. This "profile" is then used as a guide that allows this "automatic" line to be repeated.
A grid of points is then marked up onto the canvas and a set of regularly spaced integers are measured off along the edges of the work. All of these variables of can change resulting in a differing set of parameters for each work.
The "profile" describing the line is then centred on one of the grid points and aligned to a corner of the canvas. The line is drawn off using graphite and then keeping the profile centred on the chosen grid point, the entire line shifts onto the next integer and redrawn.
Kennedy will present Truthplotter II, a new kinetic wall-drawing installation, which reflects his interest in the nature of aesthetic value and his ongoing fascination with the notions of chance, mathematical order, control and human gesture. A carefully balanced and poised automated mechanism guides a fine stylus across the wall's surface throughout the course of the exhibition, repetitively and insistently tracing out a delicate form. The work seeks to play with the boundaries of drawing and sculpture, object and architectural space, creating a drawn image that reflects the almost anthropomorphic qualities of balance and motion inherent within the machine itself.
Eight Months on Earth
In an ongoing series of diaries begun in 2003 Clewlow creates rigorous and detailed recordings of her everyday movements. Eight Months on Earth represents the journeys made with her son for his first 253 days, each day shown as a small map describing a day’s travel.
Morrissey utilises a modular language to promote an appearance of gradual mutation. Permutating numerical sequences are used in the process of creating images which are febrile, seemingly operating between two and three dimensions. The process leads to a kinetic binary outcome which can either be modified, controlled or left to accrue randomly. In every instance, the intention is not to present an identifiable focal reference point, but rather, to induce in the viewer, a visual and physiological saturation of consciousness.
Hancock’s work is derived from the use of numerical sequences that create a rudimentary code which ultimately creates variable, mandala-like imagery.
The picture plane is galvanized with alternating planes which are evanescent in appearance, but never typically 'kinetic'.
Structures that form in the close mesh of drawn lines coalesce and dissipate, and are metaphors for the transient nature of geometric form found in the natural and built environment.
Both Hancock and Morrisey work individually and also share common practice
8 lines joined in an octagonal form can be made to inscribe a circle. To date circles have been my most ambitious venture into geometry. When I received this brief I had recently visited Discovery Bay in Jamaica where the dome of the Kaiser bauxite works , a rusting hulk of metal with jetty out over the aquamarine waters of the Caribbean, makes an arresting sight. 'I wanted to make work about this visual experience, through various ways of suggesting the construction, layering texture and drawing. Superimposing the octagon on my minimalist circle drawing added the new dimension.'
Nick Kennedy: Truthplotter
Francesca Simon: Discovery Bay 2
Patrick Morrisey: TQID Series