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AMBruno presented an exhibition of works on paper, Surfaces: Works on Paper, at the Sput+Nik Gallery, Praça Marquês do Pombal, 169, 4000-390 Porto, Portugal (16 June to 28 July 2012). The exhibition was curated by Steve Perfect and John McDowall. The idea of 'skin deep' is a commonplace, but some thinkers have sought to overturn this view of the superficial, and place significance, complexity and profundity in the surface. Twenty-four artists presented new work that engages with meaning captured in the surface. Sput&Nik is a non-profit project space which presents a regular programme of contemporary art, video, photography, performance, dance, design, literature, architecture and fashion design from emerging national and international talent. It is an artist-run space programmed by Ana Efe and Luis Xavier. Photographs by Steve Perfect. |
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Madi Acharya-Baskerville - Everyday there is a sunset The recurring nature of the grids relates to the idea of habituation with beauty that is repetitive but at the same time a site of wilderness, trauma and death as the surface subtly changes. |
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Louise Atkinson - Dog Leg is part of a series of collages created from body parts cut from magazines, to subvert the intended nature of the medium. |
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Karen Blake - Passage 1940 In 1940, Walter Benjamin escaped across the French-Spanish border. Refused onward passage, he committed suicide. He was carrying a manuscript, published later as Passagen-Werk. Passage 1940 scratches his mountainous path onto its pages. |
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Marco Calí The image is everything in cinema. Watching an old film whose subject is an historic event or personality, I want to record the experiences that I am having at that time. I want to have, on the same piece of paper, the combination of historical 'accuracy' as well as the way it was portrayed. |
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Claire Deniau - Impression From the paint materiality and the text in relief, to the imprint: the transfer process questions the initial reading and reveals a new cartography. |
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Manya Doñaque - Better times is the result of a visit to The Jewish Museum in Berlin, the surface of the walls seemed a metaphorical way to represent the physical and mental suffering. 'I don't think of all the misery but of all the beauty that still remains', Anne Frank. Ana Efe In a façade society painted in pink color, there between what you see and what is hidden lies the violence against non-human species, against the difference. The colour of blood is the colour that impresses and it lurks between domestic lives with all its strength. |
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Judy Goldhill - Fractal In Western art, landscape has often been used to reflect the idea of the self. The elements of this composition are a landscape photograph and an x-ray of my shoulder. Through it I examine the underlying structure and the surface of the world and my body within it. |
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Jane Grisewood - Shroud cover...veil...wrap...envelop...hide...fold... Shroud explores exteriority at play with interiority, where outside and inside are two sides of a single surface. The surface echoes the intricate folds in our material selves, our bodies, while enveloping, wrapping and protecting. |
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Katalin Hausel - Managing Fragility Compressing realities into a single surface, the sculptures are satellite images of Porto worked into a drawing that captures the city live and fragmented, with landmarks breaking into red and green triangles - 'going up' and 'going down', the flat binary representation of financial markets. |
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Joanna Hill - Orange |
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Lilian Igbinosun - Chasing the Dark Photography is the art of manipulating the skin of film by shining a light in the dark. Through the process of contact printing I build up a series of images that occur just below the surface, not quite dead, not in motion but there none the less, a trace record of having existed. |
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Ingrid Jensen - Surface Complexity as Living Space A surface may have topographical qualities with sculptural, ecological or physiological implications. Making sense of them can be illuminating, but is not always straightforward. |
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Sharon Kivland - Mes Plus Belles Working from her collection of French women's magazines, published at particular moments of insurrection or social change, pictures of the modern woman are isolated from their backgrounds, reprinted, then coloured. |
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Yaron Lapid - Hair to grow on the palm of your hand Idiom: To be lazy (French), An unlikely event (Hebrew), Slang for masturbation (English) Philip Lee and Cally Trench - Skin and Slip The naked surface of a man's skin is distorted by viscous clay slip, creating a new surface, which is then partially washed away: a metamorphosis referencing aging and bodily mutability. |
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Heidi Locher - having the wrong colour In this work I have been exploring identity both personal and political. Using my own skin as canvas and the paint as liquid flesh I wish to convey through these images the notion of identity and interpretation, whilst pushing the process of enlargement to the extreme. |
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Sophie Loss - An Ordinary Mirror A story that is made of heavy words hanging by a thread. A work of words made to be enjoyed in its content and in the flapping in the wind drying form. |
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John McDowall - Of unknown authors In reference to nested/unreliable narratives, exemplified in the literary trope of hidden/discovered manuscripts and in the manifold heteronyms of Fernando Pessoa, three small books containing reproductions of readers' hand written marginalia found in library copies of Pessoa's poetry. |
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Katherine Melancon - Nature Morte I have visited Porto fifteen years ago. The work reflects the distance created from my memories through time, while the material and process ultimately reflect the failure and ability to recount the past. |
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Steve Perfect - Facade Growing up in a new town the whole world was modern. This was the future, now. But as time passed, buildings from that era were neglected, despised and in many cases demolished. These pictures are an attempt to document recollections of a now abandoned future. |
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Tim Riley & Georgia Elizey - On the Other Hand Sonic readings of the epidermal ridges of monozygotic twins. The fingerprint, formed in the womb, amplifier of touch, the unique design, knowledge of the world through the pattern of print, the lasting impression. |
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Cally Trench - Hepzibah H and Cally T These drawings of the surface of faces are made by translating colour, form and shadow into cross-hatching, dots, lines, and squiggles in ink on the surface of paper. |
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Mary Yacoob - 12 Point Proposition: Primary Rays for Two Thorns and Pyramid These two drawings investigate the connections and gaps between the schema of diagrams, the shifting patina of paint, graphite and ink on paper, and the imagined realities they propose. |
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