September 22nd - October 20th 2013
Installation view from left to right:
White Wall, Supplement Gallery (13: 40, 13:25, daylight, 7-9-13), 2013
Image Persistence (Grey Text Painting 34), 2013, colour c-type, duraclear 70 x 71 cm
Image Persistence (Grey Text Painting 47), 2013, colour c-type, duraclear 70 x 70 cm
Image Persistence (Grey Text Painting 21), 2013, colour c-type, duraclear 70 x 75 cm
Image Persistence continues Pirecki's on-going concern with perception, memory, time, and their representations. Central to the exhibition are two large wall-based mixed-media installations based on exaggerated interpretations of the colour white, generated from photographs taken both in the gallery space before its recent refurbishment and in the artist's studio. These are discrete works whilst also acting as a background to a series of photographs and paintings installed on top.
The Grey Text Paintings use a monogram of the word ‘Grey/Gray’ that plays with the idea of a visual language, of both the name of what is seen and its actual manifestation as a colour; resulting in an image that can be read as well as pictured. The colours on the surface of the painting and on the brush, worked wet-into-wet, are visible at different stages of their transformation from initial vivid colours to the end result - Grey. The multiple versions of the paintings are an attempt to side-step any definitive version and instead make visible varied appearances of the 'same' colour.
The installation also contains photographs from of The Reflecting series. These works begin with an initial photograph, in this instance a monochrome photogram, which on the occasion of an exhibition is rephotographed in the artist's studio. It is this reproduction of the photograph which is used as the exhibition version, both a copy and a new original. The glossy surface of the photograph includes partial reflections of the artist taking the photograph, the surrounding space and the light. During the exhibition the photograph is re-photographed in situ to become the new generation of the work. With each subsequent showing of the work the process is repeated, between gallery and studio, the image unpredictably capturing and accumulating images as each new generation of the work is formed.
The exhibition also contains a new series of works entitled Image Persistence. These use photographs of images of works that Pirecki no longer owns, now existing for her primarily as images accessed through an archive of documentation or through partial recollection. These images are given an alternative material form, having been re-photographed directly from digital files on her computer screen, along with the attendant glare and image distortion. These are layered with other photos on transparent photographic material which are images of protean substances that shift between material states; ice, water and iridescent bubbles. Pirecki plans to document these during the exhibition to use as material for future work.
Moving between originals and copies, often re-photographing her own work to generate new and different iterations within the studio and the exhibition space, Pirecki's practice addresses notions of proximity; how images act as an analogue for memory, unpredictably accumulating, persisting, mutating or disappearing. The porous edges between her various works that get returned to, reconfigured and used as an ongoing working material over time, allow for complexity and contradiction rather than attempting to present definitives and absolutes.
Philomene Pirecki's recent exhibitions include Mind Rhymes, Hidde van Seggelen, London; Frame, Fold, Fracture, Green on Red Gallery, Dublin (solo); Relatively Absolute, Wysing Arts Centre, Cambridge; To Scrap a Proportion, Wilfried Lentz Gallery, Rotterdam - all 2013; Interiors, MOT International, Brussels, 2012 (with Aukje Koks); solo exhibition, Laure Genillard, London, 2011. Recent screenings include South London Gallery, 2013, and The Barbican Art Gallery, London, 2010. Pirecki participated in 'The Mirror' residency at Wysing Arts Centre, 2012. She is one of the shortlisted artists for the 2013-15 Max Mara Art Prize for Women.
For more information please contact the gallery: firstname.lastname@example.org
Image Persistence (Grey Text Painting 34), 2013, colour c-type, duraclear
70 x 71 cm
Image Persistence (Grey Text Painting 47), 2013, colour c-type, duraclear
70 x 70 cm
Image Persistence (Grey Text Painting 21), 2013, colour c-type, duraclear
70 x 75 cm
White Wall, artist's studio (11: 22, 11: 22, fluorescent light, 6-8-13), 2013
Reflecting White (3rd Generation), 2013, colour c-type print 50.8 x 40.5 cm
Grey Painting: Text Version 35, 2011, oil paint on canvas 61 x 51 cm
Reflecting White (3rd Generation), 2013, colour c-type print
50.8 x 40.5 cm
Grey Painting: Text Version 35, 2011, oil paint on canvas
61 x 51 cm
Image Persistence (Grey Text Painting 46), 2013, colour c-type, duraclear
70 x 77 cm
Grey Painting: Text Version 51, 2013, acrylic paint on canvas
40 x 30 cm
Reflecting 5 (4th Generation), 2013, colour c-type print
50.8 x 40.5 cm
Reflecting White (4th Generation), 2013, colour c-type print
50.8 x 40.5 cm