112 x 82 cm
Charles Avery has been constructing a narrative in his work since 2004. Between fantasy and reality, The Islanders is a very particular universe he has created in which to gather his disparate ideas. His practice primarily involves drawing, sculptures, texts and installations which participate in the epic and dreamlike narrative whole in the course of making. “I discovered a way to create a place where I could lay out and rationalize according to the space rather than to logic. This place enables me to affirm relations between the different elements. Thus whatever I make or write, whatever the context in which the work operates, its ultimate and absolute meaning remains linked to The Island ”. Charles Avery has no interest in placing his work within the history of art, instead he is intent on constructing a autonomous environment, purposely distancing the public. “The spectator is a tourist, a traveler, a writer, a missionary, an itinerant, a bounty hunter, a pioneer, in this country.” Amongst Avery’s most renowned drawings with extremely composed figurative scenes, there are geographical maps that situate The Island in relation to a fictional archipelago Triangland . Untitled (Map) is one of the pieces that enables the viewer to comprehend the context of this archipelago as well as discover the topography of his account.
Charles Avery was born in 1973 in Oban, Isle of Mull, Scotland. He lives and works in London, UK.
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year...
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
“BC/AD” (Before Cancer, After Diagnoses) is a video of photographs of the artist’s face dating from early childhood to the month before he died, accompanied by the last diary entries he wrote from April 2004 to July 2005 (entitled “50 Reasons for Getting Out of Bed”), from the period from when he lost his voice, thinking he had laryngitis, through the moment he was diagnosed with lung cancer and the subsequent treatment that was ultimately, ineffective...
Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances...
The Fifth Quarter might have taken its mysterious inspiration from the eponymous Stephen King story collated into the Nightmares & Dreamscapes collection...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...