11
2012 - Photography (Photography)
Chris Wiley
Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012). In photographing seemingly mundane images of doorways and walls, Wiley collapses the viewer’s experience of inhabiting space by foregrounding features that we all too often miss in our built environment: the peeling white paint on a Corinthian column or the rusty studs on a blue door.
Chris Wiley produces photographs that question how we experience our built environments. Trained in contemporary art theory, his practice interrogates notions of the real by subverting familiar tropes in architectural photography. His prints do not depict buildings and structures in their entirety. Instead, Wiley chooses to depict individual details and forms that are often lost in long-shot photography. His images deliberately flatten three-dimensional objects into dense composites of texture, color, and shape and heighten our attenuation to how we see the world around us, offering fragments of perceptual space that privilege sensory experience over narrative and form over content.
Colors:
Other related works, blended automatically
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Chris Wiley
2012Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
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Keith Tyson
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
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Ryan Gander
2012Epiphany…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...
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Ian Wallace
2000Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
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Cerith Wyn Evans
2008Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
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Martin Boyce
2003In 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...
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Charles Avery
2012Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island...
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Toby Ziegler
2005The Fifth Quarter might have taken its mysterious inspiration from the eponymous Stephen King story collated into the Nightmares & Dreamscapes collection...
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Burak Delier
2013Burak Delier’s sculpture Homage to Balotelli’s Missed Trick is a symbol of resistance to the demand for success and performance...
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Rosalind Nashashibi
2019Rosalind Nashashibi’s paintings incorporate motifs drawn from her day-to-day environment, often reworked with multiple variations...
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Simon Starling
2007Invited 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...
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Jonathan Monk
2003Untitled (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...
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Martin Creed
2003This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...