Elisabeth S. Clark & Richard Talbot

Altered Space 3

16th November- 20th December, 2013

Richard Talbot,

All Depth, No Substance

This new work is an extension of Talbot’s long-standing drawing practice, in which he makes elaborate large-scale pencil drawings, involving linear perspective, geometric construction, layering, transparency, plans, elevations and imagery derived from a variety of sources.

All Depth, No Substance deals with similar things, but in a much simplified form. 

This exhibition reflects Talbot’s fascination with early renaissance paintings – in particular those early 15C paintings that are held to be the first manifestations of the systematic use of the new-found knowledge of linear perspective.  This would include painters such as Masaccio, Domenico Veneziano and Piero della Francesca. On the face of it, the paintings appear to be clear examples of rationality and certainty - they have the coherent and measureable spaces that are characteristic of perspective.  On closer inspection though, the spaces can be very ambiguous and not all that they seem. There is also a clear interplay between the surface and the depicted depth; this video work is an attempt to embody these uncertainties and ambiguities.

 

Talbot studied at Goldsmiths’ College and at Chelsea School of Art. In 1980 he was awarded the Rome Scholarship in Sculpture and spent two years at the British School at Rome, where he took the opportunity to travel widely throughout Italy and Egypt. His large pencil drawings have been seen in exhibitions such as the Jerwood ‘Drawing Breath’, and his writing has been published in ‘Writing on Drawing’ (ed.Steve Garner) published by Intellect Books, Bristol and Chicago, 2008. He is currently Head of Research and Head of Postgraduate Studies in Fine Art at the University of Newcastle.

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Elisabeth S. Clark

LET’S THINK OF A TITLE WHEN WE MEET

“A title is frequently a direction for interpretation or reading. It is also the name of something or for something. Taking place indiscriminately during the creative process, at the outset or further down the line, the title often denotes the artist’s position in relation to the work, his or her subjective perception – like a viewpoint for the work – or the intention behind it, whilst also opening up readings to come.”

 

Isaline Vuille, ‘Thinking through Things’, in Take, Geneva: Piano Nobile, 2013

 

The act of “titling” connotes a way of ‘naming’, ‘labelling’, ‘designating’, ‘calling’, ‘identifying’.

For this exhibition, Elisabeth S. Clark has chosen to place the title at the forefront of her investigations by considering the activity of “titling”. For the duration of the exhibition, the title will be perpetually shifting – changing – evolving.

Elisabeth S. Clark considers the physical act of intervening with the signage an integral part of the process – including both in the gallery, on the press release and website. The title alterations will also be announced live via Twitter. This intervention, left complete in its incompleteness, will continually evolve and develop throughout the course of the exhibition, like a scenography, daily dressed anew.

In contrast, Clark has chosen to display only one sole object within the vast exhibition space – a singular, unique, abstruse, still work – which, in the face of its unstable title, will become subject to continuous linguistic renegotiation and perpetual play.

Clark is interested in the topography of language, of music (and sound) and of our systems of classification and definitions surrounding these landscapes. This reflects a pertinent and fundamental set of concerns which underpins her interdisciplinary fine art practice. Through a particular process that carefully interweaves what is already there, she seeks to accentuate, isolate and question the ephemeral, integral and changing qualities of 'being', by further elucidating 'what is'.

Clark has shown and performed all over the world including Paris, Italy, Switzerland and the USA. In 2014 she will become artist in residence at the Gyeonggi Centre in South Korea. She has studied at both Goldsmith’s College and the Slade School of Fine Art where she is currently undertaking a fine art based PhD.