The Deceleration Project
Brisley and Adrian Ward
"On entry into the waterbrakes, vision became a shimmering salmon, followed by a sensation in the eyes somewhat like the extraction of a molar without an anaesthetic. I was left with two black eyes, which lasted the usual length of time, but vision returned in about eight and a half minutes. There was no fuzziness of vision or sensations of retinal spasms as had been experienced following a run at Edwards in which a retinal haemorrhage occurred. Aside from congestion of the passages and blocking of paranasal sinuses, hoarseness and occasional coughing from congestion of the larynx and the usual burning from strap abrasions, there was only a feeling of relief and elation in completing the run and in knowing that vision was unimpaired."
The exhibition includes new and existing work by internationally renowned and emerging artists:
On loan from the UK Museum of Ordure, the Deceleration Project website plays host to Dust, by Stuart Brisley and Adrian Ward. The digital image of detritus slowly turns to dust, pixel by pixel, each time it is viewed.
Angela De La Cruz’s monochromes are initially created as ‘traditional’ paintings before being systematically dismantled and reconstituted to form new work. In Nothing, a floor based work, she has reduced a white canvas to a crumpled mass.
continues his wry exploration of landscape. In the video series New Horizons
he has removed the skies from
18th century, English, landscape paintings and replaced them with home-video footage of American storms.
On the opening evening juneau/projects/ give a performance exploiting the video camera’s ability to record it’s own demise. For the duration of the exhibition the duo display Ban This – the remix, an elegiac compilation of recordings, videos and lyrics by aspiring performers.
In Pollockology No. 4 Thorsten Knaub recreates one of Jackson Pollock’s action paintings. By methodically layering asilhouette of Pollock in the act of painting, the quick, intuitive gestures of the original are playfully replaced by a slow and deliberate digital process.
displays Mountain, a machine for ‘making’ sculptures which
resemble geological strata. The machine, based on the original by 19th
century geologist Bailey Willis, simulates tectonic plate movement by
squeezing malleable materials into a variety of forms
Spread across the centre of the gallery Matt O’dell’s Columbia Space Shuttle, Flight STS-107, 16th January, 2003 continues with his series of models depicting accidents and (man-made) disasters.
Dave Smith exhibits several of his detailed and meticulous pencil drawings on paper derived from photographs of objects.
Thomson & Craighead marks a relentless and imposing tempo upon the
exhibition. Video footage of an American policeman assaulting the driver
of a car, repeats at ever-increasing speed becoming at once sinister and
March - 4 April 2004