Charlie Godet Thomas / Bildungsroman
8th December 2011 - 7th January 2011
8th December 2011 - 7th January 2011
Still Life is a solo installation by Joe Morris, which addresses complex reciprocal relationships between the evolutions of society, economy, technology, ideology and culture as well as urban, industrial and natural environments, and the effect this has on objects and their meanings.
Today we live in a world of ever increasing speed. The industrial revolution was, importantly, a dromoscopic (relating to the science or logic of speed) revolution, dramatically affecting the value and meaning of objects; pushing these qualities into a state of constant flux. Technological advancements have allowed us to control nature and the materials around us with increased speed and accuracy. Cultivation techniques such as hydroponic systems allow us to create a ‘perfect climate’ for cultivation, and through these the speed of growth and yield can be increased outside the bounds of natural and seasonal environments.
In Still Life Morris constructs his own unique version of a 17th Century Dutch flower painting recreated with real flowers displayed in a highly clinical hydroponic environment.
Stewart Gough / Privet Topiary
Stewart Gough / Privet Topiary
11th March - 31st March 2011
Field Projects and The Bun House is proud to present 'Privet Topiary', a solo exhibition of work by Stewart Gough which playfully examines the relationship between cultural production and economic policy.
Here Gough re-presents his public vote winning sculptural proposal for a landmark Gateway Artwork marking the entrance/exit of the proposed underground link road between the villages of Wellingore and Waddington in Lincolnshire. Titled as 'Privet Topiary' (2009), the work envisages an operational monument in which an accurate three dimensional likeness of the economist John Maynard Keynes is rendered in trained and clipped privet hedge, an evergreen shrub requiring constant upkeep. Gough's proposal was first exhibited in the showcase of 'Expressions of Interest' for the Postmethodists' Broadcaster.
Gough also presents his original drawing; Green Man – Marx. (2010). A stylised Portrait of Karl Marx as the mystical 'Green Man' folk icon, bearded with oak leaves rendered in ink and pencil crayon on heavy handmade watercolour paper the drawing hangs in a hand carved arts and crafts inspired frame made up from salvaged oak floorboards.
Continuing the series of events under the dart board, a DJ set will be played during the opening event interspersed with songs from a play-list selected by Gough designed to amuse and inspire.
Stewart Gough graduated MFA Goldsmith College in 2005. Recent exhibitions include On Becoming a Gallery, curated by Fieldgate at Angus Hughes Gallery ( The Lock Inn, 2010 – 11. in collaboration with Tom Ormond) 2011. Terminator at Camberwell Project Space, Camberwell College of Art, 2010. Dawnbreakers at John Hansard Gallery, University of Southampton, 2010 (both curated by Juan Bolivar). Detox. Concrete Allotment Projects, 16 Hoxton Square, 2010. In September 2010 Gough presented Depot, his curatorial debut at Vulpes Vulpes Gallery.
http://www.stewartgough.com/
Inês Rebelo / This Otherworld
11th February - 5th March 2011
This Otherworld brings together several new works by Portuguese, London-based artist Inês Rebelo. The exhibition examines the idea of an-other realm as response to the unique context for display: a local pub in Peckham, SE15, The Bun House.
The combination of painting, drawing and sculpture expands over three different areas: the interior space of the pub; the project room; and (for the more venturous, who decide to climb the ladder at their own risk) a terraced exterior area at the back end.
In the main interior space, the usual pub clock is replaced by Rebelo’s One Day in Saturn #2 (2011), a red-framed ten-hour clock. The existing clock, a crucial remainder of outer-life beyond the pub, is eclipsed by the proposal of another time frame. Inside the project room, Pub Rover (2011) and 37 Cluster (2009) offer themselves to comments on absurdity. The three-dimensional work makes use of an old pub bench covered with solar cells and moving wheels, whose purpose is no longer apparent. Next to it, the painting on aluminium presents the contradiction of making sense of a group of stars by ‘discovering’ the number 37 written on the deep sky. Outdoors, on the rooftop terraced area, we find Proxima Centauri (2011), a painting supported by a metal structure. Presented as a billboard, the piece combines an outer space phenomena depicted with Turner’s earthly light, along with a text co-opted from the London Science Museum where we learn how close is the closest star from Earth: very very far away.
If The Bun House space is purposefully detached from the turbulence of the outside streets, it is unclear. But the set of closed heavy doors creates a paradoxical warmth for its guests. This quasi-capsule is surely slow time paced like the house of an old grandaunt, with the virtue of opening up a mental space. A re-enchantment. And this is where we are,
in This Otherworld.
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