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DENISE HEINRICH LANE: SHOW INFORMATION

Joan
2007
90 seconds (repeated)

In a youth-oriented culture where people are increasingly seen as commodities - their worth gaged by physical appearance, academic achievement or economic prosperity - older people, particularly in an urban environment, are devalued and shunted into the margins, often ignored or patronised, and are little represented in the media - (not fashionable, too ugly, too slow - their concerns not 'youthful'.)

I want to see many more older women on screen - not wrinkle-free, plasticized versions - but real females with lived in, weathered faces.

A rudimentary approach to material lays bare the artist’s hand and lends the “catastrophic” action an air of pathos. These works draw connections between art and science, particularly within the context of 19th century landscape painting, natural history and early “disaster tourism”. The provisional mien of the sculptures reflects the drive towards obfuscation, peril and the “uncontrolled category of perception” that colours the Burkeian sublime. This frames an implicit challenge to what we define today as “natural” and how contemporary Western society views threats of disaster, both real and imagined.

politics, but are also laden with the cultural history and mythology of catastrophe and decline.

In Disaster Series (2006), basic elements like ice, water, and smoke provide the action in these non-linear, nearly static videos. They subvert a “big event”–driven reading of history by portraying dramatic subjects, such as the volcano, in anticlimactic roles. Disaster Series references sites through digital compositing, a technique that echoes Caspar David Friedrich’s composite painted environments. For Friedrich, geography took a backseat to emotional evocation. In my work, emotion impinges upon elementary science experiment.

Terrestrial forces in the form of crude papier mache volcanoes encroach upon domestic architecture in the Volcano Sculpture Videos (2008).

EMILY CANDELEA: SHOW INFORMATION
From science, I harvest the concept of entropy to be explored in terms of its relationship - in the human realm - to degeneration and disaster. Discernibly makeshift materials feature prominently in my investigation of the “destructive event” within a formal scheme that is, itself, falling apart.

I borrow elements of the visual language of 19th century Romantic landscape painting to forge a contemporary understanding of the human relationship to nature. Through video, sculpture and collage, my practice reflects upon how the parameters of this relationship have changed or grown more complex since the Romantic era. My works allude to subjects (like global warming or the controversy in American society surrounding Hurricane Katrina) that involve science and

documentaries, which follow personal narratives, such as the feature-length ‘Cradle’. Videos by Richard O’Sullivan have been shown at the New York Video Festival at Lincoln Centre, Manhattan (2007), the Lucca Film Festival in Italy (2007) and Filmfest Dresden (2008). In 2006 he gained an MFA in Film Production from UCLA Film School. He currently lives in the UK.

More Information about the artists involved in this show can be found in the 'Artists' section of this website.

RICHARD O'SULLIVAN: SHOW INFORMATION
Richard O’Sullivan’s video works explore the textures of landscape and the meanings of place. These lyrical portraits seek to uncover deeper structures through the surfaces of the physical environment. The artist’s second focus is the medium of video itself, and the mechanisms of visual perception and cultural understanding on which it depends. In these works at Clapham Picture House, the portrayal of place and the exposure of the medium work together.

Richard O’Sullivan was born in England and grew up in South Wales. After going to Los Angeles to study film direction in 2001, he became interested in video as an art form. Inspired by the contradictions of the Californian landscape and memories of home, his artwork explores landscapes and the meanings of place. He also produces

desires through a visceral experience. The Great Escape: Songs from the Hungarian Hillside raises questions of social contracts between people to push the boundaries of human conduct such as Erwin Wurm does in his photographs as both artists capture perfect visceral moments contained in lush colour.

Alex Staiger’s diverse practice involves questioning values and what, as an artist, she can provide. Coming from personal experience and travels, her videos, drawings and installations employ psychology to question reality by confronting the audience about value and experience through humour. Her work aims to generate many answers to the question who and how does one put a value on video works and performance? As Pierre Bourdieu talks of distinction, taste and demand of an artwork as subject to perpetual displacement following the course of particular struggles within the field so does Staiger’s video work. She also references Freud, who believed the pleasure of a joke is a kind of economy. And in this manner Alex Staiger’s transgressional works deal with psychological dislocation and abjection helping to explore the psychological as an event where audiences are confronted with their own repressed

ALEX STAIGER: SHOW INFORMATION
Alex Staiger presents a new work created during her residency at the Tihany International Postgraduate Program in Tihany, Hungary September 2006. The film confronts the viewer forcing them to acknowledge the competition of value system. Here we see the classical piano player on the left and contemporary abject body art (represented by the artist Alex Staiger) on the right, where they simultaneously vie for attention of the viewer. The core of Staiger’s performance takes its roots in abjection and body art and can be seen as a mockumentary on performance art. The most obvious example is her use of whipped cream, emphasizing the tactility and overpowering effect of something so sweet it can make one sick. Absurdity also prevails in her practice with epic scenes of trampolines and horses as she employs a bit of slapstick humour performing to an empty amphitheatre.

CHRIS OAKLEY: SHOW INFORMATION
Chris Oakley's work is concerned with how media and technology shape our experiences of the world, and the relevance of the veracity of images in a media saturated world. From the intervention of the camcorder in the tourist's first-hand experience to the engineered narratives of 'reality' television, the exhibition explores processes of 'fictionalising' material captured from life in an analogy to the mass media's increasingly uniform treatment of fiction and the factual. Other works refer to the ubiquitous presence of the CCTV camera, which renders our ventures into the urban environment a participation in an unseen world of images, where our activities serve to build a data body remote from ourselves, an unseen biography detailing the minutiae of our daily transactions which itself becomes a tradable commodity outside of our awareness.

CLAIRE MCARDLE: SHOW INFORMATION
Claire Mcardle presents her moving paintings that explore composition colour and light.

"The two films ‘Last Station Stop’ and ‘I’ve Gone Away’ are about a sense of place and our ideas of home. They explore romantic notions of loss and longing in absent spaces, and how we seem to be drawn to open, melancholic and contemplative spaces in nature. ‘All the better for seeing you’ is a playful film revisiting a traditional fairytale. My figurative work is about trying to capture atmosphere, the quietness of a place. I prioritise mood over a narrative sequence and I am attracted to the understanding of the sublime and the beautiful in nature. I treat each film almost like a ‘moving painting’.

MICHAEL SHAW: SHOW INFORMATION
Michael Shaw has been exhibiting internationally since 2000 and in 2005 gained a PhD in Sculpture from the University of Gloucestershire. He has taken part in Discerning Eye at the Mall Galleries the Jerwood Drawing Prize and won many awards to include Lynn Chadwick Prize, RWA, Bristol Discerning Eye Drawing Bursary and in 2003 was short listed for the Jerwood Sculpture Prize.

SAVINDER BUAL: SHOW INFORMATION
FLICKER
2005
DVD
Duration 50 seconds (including 10 seconds of black at the beginning and end).
A photograph of a candle is placed on a video timeline for 1/25th of a second, followed by a gap of the same duration before the image is repeated again. This causes a rapid alternation between the image and black which induces a flicker effect, creating an illusion of movement, despite the fact that the image projected is always the same.'Flicker' was inspired by early silent films. Such films were projected at a frequency of alternating light(projector shutter open) and dark (projector shutter closed) that was too slow to eliminate flicker, hence the term the 'flicks'.

(philosophical/scientific) on its nature and origin.

In recent works I have digitally recorded and re-presented the phenomena of light through utilising the book structure (sometimes physical, sometimes metaphorical). Through engaging with the qualities inherent to the book form: page, order, sequence, and through these, contained duration; I draw attention to specific moments in time and space.”

LEANNE BELL GONCZAROW: SHOW INFORMATION
“The sun has a diameter of 865,200 miles. If you imagine that the sun is not 865,200 miles in diameter but roughly the size of a tennis ball, earth is approximately the size of a pinhead and this pinhead would be 12 metres away from the tennis ball sun. Jupiter is the size of a green pea about a football pitch away and another 3 and a half football fields away is Pluto, a spec of dust.

The earth orbits the sun in such a way light will never fall on an object in the same way twice. Perhaps this is an obvious statement to make but light has the ability to transform the mundane in to the magical. Within my practice I am concerned with exploring and juxtaposing my own emotional responses to the light in my immediate environment with contemporary and historical thought

TRANSPORT: Clapham Picturehouse is situated one minute's walk from Clapham Common Tube Station which is on the Northern Line. Clapham Junction Station is a short bus ride away and is served by routes 35, 37 and 345. Routes which pass near are 60, 88, 137, 155, 355, 689, N35, N37 and N155.

role of investigator, communicator and entertainer.

Show 1: LEANNE BELL GONCZAROW, 6th-27th Feb 08
Show 2: SAVINDER BUAL, 5th-26th March 08
Show 3: MICHAEL SHAW, 2nd-30th Apr 08
Show 4: CLAIRE McARDLE, 7th-28th May 08
Show 5: CHRIS OAKLEY, 4th-25th June 08
Show 6: ALEX STAIGER, 2nd-30th July 08
Show 7: RICHARD O'SULLIVAN, 6th-27th Aug 08
Show 8: EMILY CANDELEA, 3rd-24th Sept 08
Show 9: DENISE HEINRICH LANE, 1st-29th Oct 08

OPENING HOURS: Wendesdays, 6pm-11.30pm.

ADMISSION: Free.

ADDRESS: Clapham Picturehouse, 76 Venn Street Clapham SW4 0AT.

CLAPHAM PICTUREHOUSE

VIDEO: Capture on Film/Record
RECORD: Documentation/Evidence/Chronicle/Testimony
FILM: Movie/Big Screen/Silver Screen

OCCUPY MY TIME arrives in Clapham at the beautiful restored picture house, an independent cinema in the heart of South London.

Each month artists will present a series of solo monthly shows projected directly onto the walls of the ground and lower floors in the bar area of this exciting vibrant space. There is no theme but screenings will explore the exciting visual language of video. Projected onto a large format the images will interact with the audience as they socialize. Using visual communication to engage and interact with the viewer the artist will play the

ADDRESS: Greenwich Foot Tunnel
Cutty Sark Gardens, Greenwich, London, SE10 9HT

TRANSPORT:
DLR: Cutty Sark, Island Garden Station, Greenwich
Mainline rail: Greenwich
Bus: 177,188,180, D3, D7, 199, 286, 386

CUPBOARD LOVE 2 is presented in association with Greenwich Council and Out of Nowhere Design.

More Information about the artists involved in this show can be found in the 'Artists' section of this website.

It is here in the lifts that CUPBOARD LOVE 2 invites the audience to engage with art presented in the cupboard hidden in the wooden panelling.

Show 1: BEA DENTON and PATRICK SEMPLE, 1-30 March
Show 2: SHE AND HER Exchange, 1-30 April
Show 3: HANNAH CUSHION and SARA BEVAN, 1 May-7 June

Come and meet the artists in the lifts:
(for show 1) Saturday 15th March at 2pm
(for show 2) Saturday 5th April 11am-12.30pm
(for show 3) TBC

OPENING HOURS: Work presented in the lifts;
Monday to Saturday 7.00am-7.00pm
Sunday 10.00am-5.30pm

ADMISSION: Free

CUPBOARD LOVE 2
In the Greenwich Foot Tunnel
1st March - 7th June 2008
Curated by Sue Cohen

Walk across the Cutty Sark Gardens and enter the domed Edwardian building and experience the atmospheric world of the subterranean, for this is Greenwich Foot Tunnel, a cavernous world where you once could leave your secrets behind as you travelled from one side of the London to the other. The tunnel is full of mystery and intrigue and can seem more lonely and desolate than anywhere else in London. Today all human traffic can be watched on CCTV cameras, by the attendants working in both identical lifts at each end of the tunnel. You have no consciousness of the external; time becomes eternal and the weather inconsequential.

URBANBODIES 1

URBANBODIES 1 ran from 1st Feburary - 27th April 2005 at 127 Brick Lane.

For details please visit the URBANBODIES 1 website: click here.

URBANBODIES 2

URBANBODIES 2 ran from 1st October 2007 - 31st January 2008 at the Greenwich Picture House.

For details please visit the URBANBODIES 2 website at www.urbanbodies.co.uk

UNDERGROUND

UNDERGROUND ran from 14th October - 25th November 2006 in the Greenwich Foot Tunnel.

For details please visit the UNDERGROUND website: click here.

CUPBOARD LOVE 1

CUPBOARD LOVE 1 ran from 2nd - 30th November 2007 at the Greenwich Foot Tunnel.

For details please visit the original CUPBOARD LOVE website: click here.