James Casebere and Graham Gussin
dal 10/11/2003 al 20/12/2003
Segnalato da
10/11/2003
James Casebere and Graham Gussin
Lisson Gallery, London
James Casebere. Paradoxically emotional and austere, Casebere's work centres on the point where photography, architecture and sculpture intersect. Graham Gussin's new work deals with notions of the uncanny and the sublime, a recurring theme in much of his practice. Gussin uses film as material and reference and is interested in how filmic images and ideas spill out into reality and occupy space in our subconscious.
James Casebere
52-54 Bell St.
12th November Â20th December 2003
"Casebere allows us to fill the empty space of his spatial stage which
produces the effect of a primordially experienced landscape, at once close
enough to be touched and distant enough for reflection." Anthony Vidler
Paradoxically emotional and austere, Casebere's work centres on the point
where photography, architecture and sculpture intersect. Carefully
constructing table-top models of interior spaces using plaster, Styrofoam
and cardboard, he dramatically lights these miniature interiors or "sites"
before photographing them and enlarging the prints using high spec
Cibachromex{2039}a process usually associated with lush, glossy colour
photography. The results are both surreal and remarkably realistic. Each
model is specifically constructed to be seen through the lens of a camera
and takes advantage of photography's ability to flatten space and capture
lighting effects invisible to the eye. Though devoid of either plot or
characters, his images of architectonic constructed spaces are nevertheless
cinematic and poetic, at times imply a mute melancholic loneliness. Taken
as a whole, this penetrating body of work, evokes an underlying anxiety
about the loss versus the retention of things of value from traditional
cultures, in our current global setting.
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Graham Gussin
29 Bell St.
12th November Â20th December 2003
Graham Gussin's new work deals with notions of the uncanny and the sublime,
a recurring theme in much of his practice. Gussin uses film as material and
reference and is interested in how filmic images and ideas spill out into
reality and occupy space in our subconscious. In Dark Light Piece (Texas
Chainsaw Massacre Mobile), 2003 he constructs a simple mobile, using
incidental pastoral landscape stills from the seminal horror classic. The
mobile itself becomes a literal play on suspension, floating above us like a
cloud, its dark subject matter in stark contrast to its decorative form.
Spiral, 2003 is a continuous icy white neon spiral of words running one into
the other that plays on the notion of perceived 'conditions' and
psychological states. 'Unknown'; 'vague'; and 'unsure' are adjectives that
trigger atavistic and familiar emotional responses and yet are also imply a
state of non-existence. Doppelganger, 2003 investigates ideas of repetition
and circularity whereby the artist attempts to see through the eyes of
someone else. In 2001 Gussin advertised for a volunteer or 'doppelganger'
to replicate exactly a trip made to Iceland in 2000. While Gussin was in
London, his doppelganger was to experience, as closely as possible, events
that had taken place a year before. The viewer too is intrinsic to the work
and inevitably becomes the doppelganger as he or she follows the logic of
the work. Again this embodies themes of the visible and invisible, becoming
a complex visual trap.
Preview: Tuesday 11 November 2003, 6-8pm
Image:
Graham Gussin, Doppelganger, 2003
Opening hours: Mon - Fri 10-6, Sat 11-5
Lisson Gallery, 29 & 52-54 Bell Street, London, NW1 5DA
T: 00 44 (0)20 7724 2739 F: 00 44 (0)20 7724 7124