Mark Titchner works
in a variety of media employing a hybrid aesthetic style that
openly borrows from the utopianism of Op art and Bauhaus and
locates it alongside civic design and the modularity of G-plan,
offering a language that is visually engaging yet emotionally
null. His work explores the inevitable degradation of idealistic
structures when exposed and applied to the world and their transformation
into a psychological back drop for their times.
The exhibition includes a 30ft airbrushed wall drawing reminiscent
of early 3D-computer rendering and depictions of the molecular
world, which sits sculpturally upon the gallery's white walls.
A modular concrete floor piece marries Kenneth Noland's chevron
device with the humble garden patio and polystyrene wall reliefs
employ the motifs of Albers and Nicholson using the conventions
of the urban planner.
Also included are two sculptures, which employ as a central
theme marginalised areas of scientific research. One employs
the stroboscopic light effects which Brion Gysin and Ian Sommerville
investigated with the Dreamachine, a device that by stimulating
the natural functions of the brain could induce a drugless,
transcendental high. The other uses electronic sound to vibrate
liquid producing visual waveforms, paralleling the experiments
of Swiss natural scientist Hans Jenny which emphasised the synaesthetic
nature of experience. These furniture-like devices combine a
sculptural formalism with a utilitarian functionality that is
instilled with a failed possibility.
Mark Titchner's work has recently been included in Painting
Lab at the Entwistle Gallery, London, True Science at the KX
Gallery, Hamburg and Surfacing, Contemporary Drawing at the
ICA, London.
For further information or images please contact Sarah McCrory:
+44(0) 20 8981 3344 or: sarah@vilmagold.com |
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