Bending Light
A Wave...



Rachael Archibald
Menna Cominetti
Charlie Godet Thomas
Sebastian Jefford
Roman Liška
Tristan Stevens


All Photos courtesy of Hannah Wilmshurst



We have our most powerful tool currently within our grasp, with an infinite number of possibilities: a “grid” that has become fluid. Our singular expanding pool of information
is expanding and fluctuating in new ways in which we are able to immerse ourselves and become infinitely connected with one another.

As Google begins launching the Internet into the skies with balloons, technology is fast becoming a basic human right around the world.
Global connection and unification finally becomes a physical truth; connecting cultures to create a world that is de-teratorizalized through means of the technological surface.

The line of flight is now completely transparent, or moreover it has become an illuminated menu into which we can vanish. Inevitably artists are at the forefront of this brand new and immersive interface.

Focusing on Deleuzian theories
of ceaseless connections between semiotic chains, organizations
of power, and circumstances,
whether it is relative to the arts, sciences, or social struggles, this is where the focus is heading today. Artists, as always, are there
to answer the questions thrown up
by this new normal.
Home’s opening exhibition will attempt to represent and unpick the structure and themes of this interface with a carefully selected group of artists.
All of whose works are either directly concerned with the Internet and audience or could not be created without the use of digital tools,
from Dreamweaver to Amazon.

The viewer, therefore will be faced
with a variety of works whose powerful visuals, will enable for audiences
to discuss the shifts in contemporary art and culture in terms of image, object, and gallery.

Each artist selected, is tackling
the issue of production and
the physical and virtual surface. Sebastian Jefford and Tristan Stevens build surreal narratives that portray human behaviour both on and off
the plane of the screen through
the creation of beautifully seamless
yet ambiguous connections, GIFs,
Zen Gardens and the smooth tactile surface of fabrics all coalesce.

Menna Cominetti enables a dialogue between the object and the face
of representation.
Seeking for a very felt and visceral relationship to flat, imaged and sometimes digitised parts of culture. Not wanting to reclaim the slickness
of internet media surfaces for herself; not making objects which look like they belong there. Instead making objects which are more about the mess of the over imaged scenario we are all in.

While the work of Rachael Archibald, whose works are often screen-based interpretations, picks apart
a perceived loneliness that lies deep
in each individual. We group,
we conform, we replicate; we invent. With the use of repetitious layering processes and simple familiar forms she attempts to push the boundaries of her own and the viewer’s experience with vision, familiarity and connection.

These narratives may seem a little surreal, but are in fact, representations of the emergence
of a powerful post-internet culture.

Charlie Godet Thomas is a great example of an artist who has been able to let physical mediums converge and coalesce. Using technology in
a seemingly classical way to create works which in turn are processed
in a final digital and synthetic manner, a means of adding a final digital
full stop.
Roman Liška creates works that challenges the barrier of the object
on the screen and the viewers perception. As seen in objects used, originally bought online; strangely scented black loo roll for example,
one sense still denied to us by the screen. He creates a bridge between the commercial culture and the artist led initiative of galleries as unique spaces and institutions.

It is becoming ever more clear,
through the vocabulary of artists
such as this, that culture and ideas can now spread like the surface
of a liquid. Spreading out, taking the path of least resistance or trickling downwards towards new spaces through fissures and gaps, eroding what is in its way. The surface can
be interrupted and moved, but these disturbances leave no trace, as the liquid is charged with pressure and potential to always seek its equilibrium.

— Charlotte Cousins


Rachael Archibald
Sebastian Jefford


Menna Cominetti
Roman Liška


Charlie Godet Thomas
Tristan Stevens


Bending Light.

The image. The moving image.
This GIF. This GIF on your phone.
On your ipad. In your dreams.
A virtual experience is always
a real experience.

A screenshot of a photograph
of a shop window full of laptops
and tablets all displaying screenshots of shop windows full of laptops
and tablets displaying screenshots
of screenshots of screenshots.

A printout of that screenshot.
A real-time walk-through in real-time life looking at real-time images
that come away from the walls
and perform to your commands.
A virtual walk-through of a gallery displaying gilt-framed old masters
on white walls under vaulted ceilings over parquet flooring.

The image is static and moving all at once. It rotates, appears to approach the camera, and dissolves into a mist of tiny images of a beach somewhere.

On another beach somewhere else
a couple walk together, holding hands, holding phones. Scrolling alone together on a beach somewhere.

The image is no longer static.
It rotates and the whole world stops
to watch itself.
For about a second.

A printed screenshot of a photograph of a painting.

A thousand pin-pricks of light coming together for an instant, parting into
ten thousand new pin-pricks, each one bent on the path of least resistance.

When did you last see an image
of an artwork online that it would have been impossible to create in the physical world?

Or an offline work that you couldn’t have viewed on a screen from the comfort of your own home?
In a world where everything
is available instantly
and simultaneously, where can you
find invention, newness, creation,
and medium-specific content?

A newspaper on a mobile phone,
a phone call made from a laptop,
a word document edited via
speech-recognition, a book without pages. The Mona Lisa was always
a virtual experience anyway.

—Trevor H. Smith

Home-Platform is a curatorial research
platform examining the relative positions of object | image | gallery.




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