Duke intertwines lives to remind us that the multi-sensory experience can be a terribly beautiful and disastrous experience. His constructs are reflective illusions where spaces are about the body’s existence in the world, the body’s activity in the world. It is important that these are worlds that have been lived in so that pondering them we don’t feel external to them. He organizes and gives structure to different grounds through which he is positioning us. When these grounds intersect a vortex blossoms. The amplification denotes specific, important changes that occur in the physical process of creation where, in the exaggeration, lies deep significance.
* Robert Sparrow Jones *
“I thought I was touching God the first time I tackled someone in a rugby practice. When I played rugby I loved being crushed into a scrum, pushed into the inside of a maul, piled into a ruck. I loved being a part of bodies on top of bodies, on top of bodies, and I think that has reflected in my work over the years. Open water swimming is all about vast, open space that surrounds you, and over time that has become a necessary contrast to the compression of space that I usually look for.” –Lauren Boilini
* Jeremy Allan Hawkins *
During his lifetime, a gallery was dedicated to Gustave Doré’s work in London, he was photographed by the one and only Nadar, and when he died at the age of 51, he was interred in Paris’s famous Cimetière du Père Lachaise. To posterity, one expert claims he left over one hundred thousand individual works, while even a conservative estimate puts it at over eleven thousand. That body of work has, in turn, been responsible for influencing countless illustrators—perhaps even inspiring our earliest comic books—and establishing visual tropes that still appear today in print and cinematic forms. There is no question that Doré sought to establish his legacy with a singular determination, and he succeeded in many ways, yet his greatest work may also be his most significant failure.
* Nicholas Johnson *
An exhibition I saw very quickly at the end of this year, reminded me of another exhibition I viewed quickly earlier in 2013. Kaye Donachie and Gary Hume have a knack for getting us to look longer. And the economy of means they achieve this with is remarkable.
* Nicholas Johnson * That I cannot remember the first time I saw Gillian Carnegie’s Black Square is a testament to its creeping, subtle complexity. It is a simple painting to describe: a monochrome black square of canvas just under two meters. Hidden in the black is a landscape delineated only by variations in brushwork, which means it is an extremely difficult painting to photograph. The first time I saw Black Square was in a photograph, a jpeg on the internet, and it wasn’t until this past summer that I was able to see it on a wall, in the flesh, at the Tate in London during their ‘Looking at the View’ exhibition (2013).