Depth of Field | local

Finola Gaynor’s recent moving image work looks at our world view through the intermediary of mobile devices as sensory extenders. In the past, Gaynor’s ‘Walk’ series looked at perspectival disorientation, but her latest series, entitled: ‘Depth of Field’, enables us to see the world real-time/time-lapse/slo-mo by turns.

Depth of Field (Still)

In a recent interview, the Chief Curator of the Whitechapel Gallery in London, Lydia Yee spoke about the internet going offline – meaning that the internet had become a behavioural modifier for actions and perception which we, as actors, revisit on our ‘real’ worlds. In Gaynor’s recent work we see the world modified through the lens of a mobile phone at a level of sophistication beyond human processing or perception.

The questions the work raises about augmented and virtual realities are complex and disquieting but have the aesthetic sensibility of pastoral music or of impressionist landscape. See it at Aylsham Festival.

In my mind I hear Satie…’

Satie, Gymnopedie no. 1.


Chris Burden | Urban Light

Visionary, authentic and not without complexity; Chris Burden’s loss to art is seismic. An artist’s artist, but also open, intelligent, playful and controversial. The world really is a poorer place for his passing.

All credit to Gagosian for their support of his work over the past thirty seven years.

Gagosian Gallery

‘Urban Light’ courtesy Gagosian Gallery

John Craske: Threads | Norwich University of the Arts

As an insider on this, let me say that the coverage of Julia Blackburn’s book ‘Threads’, in advance of the show, has set the literary press alight. By now you’ve (hopefully) bought the book, and here’s the show – no T-shirt though! The show doesn’t open until Tuesday 12 May, but let me tell you, it doesn’t disappoint; Craske’s ability and necessity of situation led him to embroider with infinite patience and painterly eloquence. Whilst Wallis prompts obvious comparisons, these really run out beyond the subject of boats and the sea – there is so much more to Craske.

The feel of the work has more to do with Van Gogh’s landscapes around St. Paul’s Hospital or Matisse’s “Luxe, Calme et Volupté or even Seurat’s Harbour scene. Advice would be (not in any particular order), see the show, buy the book and just think about the parallels between reading, Blackburn’s writing and the process of painting. About time, Mr. Craske, that your work was critically re-evaluated. Hear the interview on BBC Radio 4 Front Row with Neil Powell and Julia Blackburn (recorded 8 May 2015).
John Craske: Threads – Norwich University of the Arts.