Roseanne Lynch : “Document” Series (Photography)

“What is special in the case of conditional experience is, I think, what I sometimes call the
introspective quality of seeing: you see whatever you’re looking at, but you also see the
way you’re seeing… your experience of the thing is integrated as part of the thing itself.”

Olafur Eliasson

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
giclee on aluminium
16.4″ x 23.4″
2010

‘untitled’
lambda print on diabond
60″ x 40″
2010

I am intrigued by the quality that is photographic, and by how the photographic process affects the looking. I explore the photograph, as object, as image, as representation, as illusion, as statement; its physicality, surface, matter and suggestion. A photograph is something you might imagine you can enter into, but it is a surface and pushes you back. Uncertainty interests me. I like not knowing, and the understanding held within that unknowing. I am interested in the possibility of a quality of silence and internal conversation when you encounter artworks.

This body of work presents a sustained investigation of light; light that has no material substance and is illusory. This investigation focuses on the immaterial; through it I observe how light molds and moves, light defining the planes, how our reading of a subject can be altered by its interaction with light – sometimes dramatically. Inquiry is what I am presenting, an opportunity to bring the viewer into the inquiry. To find an answer was never my intention. [extract : ‘document’ series description]

Roseanne Lynch : Website

David DiMichele : Pseudo Documentation

Pseudo Documentation, is a series of large-scale photographs depicting grandiose installations in fantasy exhibition spaces. DiMichele creates this work by first building scale models of exhibition spaces, and producing original artworks in drawing, painting and sculpture mediums, which are sited in the spaces and then photographed to create the final works. The Pseudo Documentation photographs are inspired by DiMichele’s background with photography, installation art, abstract forms and passion for monumental museum and gallery architecture combined to create this photographic series of work.

Pseudodocumentation : Salt & Asphalt
Lightjet print
40 x 80 inches
2007

Pseudodocumentation: Branches
Lightjet print
42 x 60 inches
2006

Pseudodocumentation: Broken Glass
Lightjet print
40 x 60 inches
2006

Pseudodocumentation: Desert Disks
Lightjet print
42 x 68 inches
2007

Pseudodocumentation: Hose Drawing
Lightjet print
42 x 55 inches
2007

Pseudodocumentation: Bark Painting
Chromogenic digital print
Edition of 6
42 x 55 inches

Earlier in his career, DiMichele was known for his abstract painting and installation work, which often questioned conventions and traditions of non-objective art. For the Pseudo Documentation series, DiMichele unveils a new body of work that continues these investigations through imagination and manipulation seen in these large-scale photographs. DiMichele’s process is to create three-dimensional models of exhibition spaces and create within that space various art work that are contingent on the illusion of the architecture and space of the model he creates.

The resulting installation model of the exhibition space is photographed and the result creates a complete environment in the scale model gallery. DiMIchele’s idea for this series evolved out of documenting installation projects that he had created, as well as thinking about the nature of art documentary photography in itself. The fact that DiMichele creates artwork that is of a highly representational nature, by utilizing figuration, perspective, lighting etc. is mainly to create works that deal with issues in abstract art.

The models in Pseudo Documentation, playfully allude to the extreme size of contemporary art exhibition spaces such as the Tate Modern, his photographs infer a grandiose scale that matches or exceeds such spaces. Although the photographs are clearly representational in every way, the imagery and subject matter reflect the artist’s interest in the forms and history of modernist abstraction. [K.G.]

David DiMichele : Website

David DiMichele : Kopeikin Gallery

Richard Wilson : 20:50

Created over 20 years ago, this spectacular waist-high reservoir of recycled sump oil, one of

Britart’s most iconic installations and has been exhibited at his various galleries in London.

Installed at the new Saatchi building in Chelsea, the timeless work is well worth another look …

The artist Richard Wilson poses with his installation,

a vast tank made out of sheet metal and filled to the brim with thick sump oil

Wilson has become renowned for his site-specific installations. Of this work he says:

‘It can be applied to any internal space … and in each space it will be radically different

because it will reflect it and adapt to its parameters’

The work, in the basement of Saatchi’s new gallery in Chelsea,

reflects the architecture of the room, seemingly doubling its size

A walkway invites visitors directly through the tank,

so that they are surrounded by the reflective plane of oil

The installation contains 8,000 litres of sump oil 20:50, from which the work takes its name

[images and text : guardian.co.uk Tuesday 12 January 2010]

Richard Wilson : Saatchi Gallery : Sump Oil and Steel : Video

Richard Wilson’s 20:50 is truly a contemporary masterpiece. 20:50 transforms the gallery into a site of epic illusion. Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil.

Visitors are invited to examine the piece close-up via a walkway that extends into the lake, placing the viewer, waist deep, at the centre of a perfect mathematically symmetrical scope. Through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic.

20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible: please take extreme care with your clothing and belongings, and no matter how tempting, please do not touch. 20:50 often has to be demonstrated to be believed: the liquid can be seen by blowing very gently on the surface. [extract : Saatchi Gallery]

Richard Wilson : Saatchi Gallery