Charles Avery
12 - 18 Jan 2015
CHARLES AVERY
fig-2, Week 2/50
12 - 18 January 2015
Charles Avery will realise the second of fifty exhibitions. His project at fig-2 unites different surfaces of reality through the collision of two and three dimensional forms, combining drawings, film and sculpture. Avery’s film uses dihedral figurations in motion that trace a pattern, which points to the constructs of time and space. This piece is a departure from Avery’s established practice, through the use of moving image and installation, which will be shown for the first time in the UK.
ABOUT CHARLES AVERY’S WORK
It is a constructed world. The fact that it is constructed does not refer to the sceptics’ idea of the evil genius, the game is not rigged. The construct is that the dimensions which exist, and the dimensions that human eye perceive, are not aligned. In other words, we live in the projection of n-dimensional space. The bird on a wire, can aid to illustrate this picture.
Charles Avery interrogates surfaces of reality, delving the depths of space-time dichotomy. He introduces collisions between the surface of a drawing, the surface of a three-dimensional object and the moving image as an accrual plane. Untitled (Dihedra), 2010 is composed of a 16 mm film, a cubic plinth and a steel rectangular prism assembled on a set of 150 hexagonal tiles with variant colours of white, grey and black. The installation represents a constructed world of geometric formations that reference the Euclidian production of space-time. The film shows geometric forms in flight, following a topological formation tracing the pattern of a Mobius-Kantor configuration. Avery animates two-dimensional dihedral figures into three-dimensional bodies that move on a four dimensional surface, converging and diverging from the screen. Avery’s installation is accompanied by a print he produced for the Ingleby Gallery in Edinburgh, which reads: “We don’t stay here because of gravity we stay because we like it.” The print supports Avery’s position on surfaces of reality, bringing his argument forward with a paradigm shift. The forces at play may be different from what they seem.
Special thanks to James Holcombe from No.w.here for his crucial technical support.
fig-2, Week 2/50
12 - 18 January 2015
Charles Avery will realise the second of fifty exhibitions. His project at fig-2 unites different surfaces of reality through the collision of two and three dimensional forms, combining drawings, film and sculpture. Avery’s film uses dihedral figurations in motion that trace a pattern, which points to the constructs of time and space. This piece is a departure from Avery’s established practice, through the use of moving image and installation, which will be shown for the first time in the UK.
ABOUT CHARLES AVERY’S WORK
It is a constructed world. The fact that it is constructed does not refer to the sceptics’ idea of the evil genius, the game is not rigged. The construct is that the dimensions which exist, and the dimensions that human eye perceive, are not aligned. In other words, we live in the projection of n-dimensional space. The bird on a wire, can aid to illustrate this picture.
Charles Avery interrogates surfaces of reality, delving the depths of space-time dichotomy. He introduces collisions between the surface of a drawing, the surface of a three-dimensional object and the moving image as an accrual plane. Untitled (Dihedra), 2010 is composed of a 16 mm film, a cubic plinth and a steel rectangular prism assembled on a set of 150 hexagonal tiles with variant colours of white, grey and black. The installation represents a constructed world of geometric formations that reference the Euclidian production of space-time. The film shows geometric forms in flight, following a topological formation tracing the pattern of a Mobius-Kantor configuration. Avery animates two-dimensional dihedral figures into three-dimensional bodies that move on a four dimensional surface, converging and diverging from the screen. Avery’s installation is accompanied by a print he produced for the Ingleby Gallery in Edinburgh, which reads: “We don’t stay here because of gravity we stay because we like it.” The print supports Avery’s position on surfaces of reality, bringing his argument forward with a paradigm shift. The forces at play may be different from what they seem.
Special thanks to James Holcombe from No.w.here for his crucial technical support.