19 October - 27 October 2012
Shannon Reed [Bio]
Harmonic Currents (Kinetic Energy Of A Short Wave Triangle)
Pine blocks, Crate, Mdf, Paint, Argon, Mercury, Phosphors (Rare Earth Metals), Fluorescent Tube, Electricity, Various Electrical and Lighting Components.
1.2m x 1m
An ongoing dialog, despite geographical disparity, inform the resultant works of No Islands. Reed and Henley's practices have long run parallel, yet never in the same locale. No Islands offers insight into an ongoing collaborative correspondence utilizing 'action' in the absence of physicality.
Reed's designerly sculptures engineer investigations of 'substance and exchange' that are commonly obscured by our perceptive failings. A subtly to the change occurring within his powered works supersede our attention span, audibility or sight. The longevity of actions employed to interconnect his materials add a meditative layering to the works which often agitate against the use of pop aesthetic. Setting an eco-bulb half in concrete (Periapsis of the Sun, estimated 2000 hrs remaining) makes us none the wiser to the chemical exchange of phosphors inside, yet does allude to the slowly apparent leak of mercury staining yellow the cast concrete, over time leaving a physical indicator.
Such works are born not from scientific methodology but anecdotal accounts as with Jericho's Wall, derived from a workplace oversight. For the viewer they negotiate territory between the firsthand experience of a secondhand account.
A similar tension, but between rational logic and fateful occurrence, underpin Henley's practice. His production explores industrial artifacts and found photographic material in a re-evaluative manner. An investigation into the interrelatedness of such has developed a visual language of pseudo-rational or idiosyncratic logic, pairing like-objects or photographic series.
Henley's work's manifest through iterative actions upon objects where a membrane is used to capture the resultant media produced between the object and action, thus describing outcomes as in the video work Four Rational Approaches to Kaleidoscopic Findings. Sculpturally this language is derived from everyday vernacular intervention and further exploits our learnt relationship to ubiquitous objects such as the glass of Cold Reading: Composition 1 or the common tools of Herculean Effort.
Throughout No Islands both artists seek to articulate findings in a pseudo-scientific manner questioning the field of phenomenological study and its relation to contemporary practice; furthermore seeking to depose the concept of art space as an 'island' removed from it's broader cultural context. Both artists itinerantly collaborate on curatorial entities 'FieldWork'' and sound program 'TRFF Listening Sessions'.