During the Time & Vision exhibition at Bargehouse Gallery we've been recieving some great comments and reviews.  We've selected a few to share here. 

Visitor Comments

Visitors engaging with Nicole Ellis' installation.  Photo courtesy of Hydar Dewachi.

 

J.Hund - "Daniel Crooks film of alley-ways is really good - vastly better than most film offerings in the galleries around the world."

L.Goodey - "The work really worked in the context of the building, the curation was brilliant."

E.Piccioli - "Something fresh and cool for the city! "

C. Senko - "Outstanding! - Helen Pynor moved me!"

S. Donelan - "Thanks! Great exhibition."

 

J. Somerville - "Wonderfully surprising."

B. Moggs - "Enjoyed it, interesting concepts."

A.  Coppes - "Interesting.  Loved Daniel Crooks."

J. Chadda - "Really fantastic, some really interesting methods and contexts!"

J. Baker - "Enjoyed visit + video artist commentary + talking to Tom - good luck to you!"

A. Davies - "This was great, one of the best exhibitions in 2012."

 

Visitor Review

Time & Vision Review New work From Australian Artists

by Lizy Bending

One of the paramount qualities I felt about Time & Vision show was its many cases and opportunities of interaction and the way a number of different artists chose to go about incorporating this into their resolved body of work on display.  Either directly or obliquely, a number of artists in this show I felt dealt with or interpreted this, into their practice in some kind of way.

Visitors viewing Daniel Crooks video installation.  Photo courtesy of Hydar Dewachi.

One of my favourite pieces going round the exhibition was a collaborative piece by Jaki Middleton and David Lawrey located on the first floor of the space.  As you first look into the room it appears black, empty and somewhat hollow; however, after you take even the slightest step inside to investigate, the whole space comes alive; music, lighting, spinning, shining and dancing right in the face of the audience - the piece both shock and entices you (whilst making you squint a little due to the strobe lighting). Now I may have a biased opinion as nothing does it better for me than dance music, but the elaborate lighting coupled with the nostalgic (or amusing) Michael Jackson music, has a lasting effect.  Even once you have left the room, the music continues to play until its cycle has ended, leaving the memory of the piece in the back of your head as you walk around the rest of the gallery; and for me leaving a lasting image, which has stayed with me.

Visitor with Nicole Ellis' work. Photo courtesy of Hydar Dewachi.

Whilst this piece is interactive in the most obvious (but no less important) sense of its activation by the audience, many of the other works in the show have also incorporated this interactive element also. While I am not completely sure if this is the intended interpretation of Nicole Ellis’ work, this is a very important element, which I interpreted from it.  The piece was a projection that stretched across the length of the space provided for it, whilst I found myself mesmerised with the projected image, I also found myself equally as interested in the effect that my presence had on the piece.  

Being able to walk through the work, I found myself wondering what the effect of human interaction on the piece would be if the work was on a wider scale. I went round the exhibition almost alone so it was only my own shadow or that of my partners which I saw; however I am interested in what the piece would look like with many shadows of the audiences bodies moving across the projection?

The body of work by Paul Knight presents a physical intervention/ interaction through harmoniously contrasting aspects. Photographs have been dissected and almost positioned back together, the physical intervention being the fold in the page.  Each image is carefully constructed to give you either the whole picture or a picture that has been deliberately concealed to eliminate a section. The image interacts with itself if you will, two halves put together to make a whole. I also found the use of a frame within a frame, or the piece coming out of the frame a really interesting take on the presentation of a photograph, as opposed to the usual stereotypical mounted/ framed piece that you usually see in London galleries.

Work by Paul Knight.  Photo courtesy of Hydar Dewachi.

Ultimately, there are a number of crucial elements that when all combined make this show such a great success and fascinating body of work to see, the international artists have really set a high standard for a London show and it was a real treat to be able to be in London to catch this show when I did. The magnificent art works are only complimented further by the beautiful building that surrounds it, each complimented by its setting and playing with the contrast of new and old between the technology the work presents and building itself, or complementing the setting by an uncanny presence. I feel that this show goes over and above the expectation it has set itself to be an exciting new body of work, and defiantly responds to the challenging location of the show.