What had just begun to emerge was the possibility of work for an online gallery which understands the demands of its physical context
whilst skilfully flirting with its edges.
Some of the work in “ex text for something next”, which is a show in response to that recent one, embeds itself further into online and digital language,
utilizing gifs and digital counters. These move the concept of text-based art further into computerized language, code, and vision. Other works move text
into a language of pictures and action, design and narrative. A partial scripted conversation is a blueprint for action as well as a concrete image; reading is
an act of looking into an imaginary space of bodies, psychologies, and spaces between words.
The language of art is revealed here as a dialogue between its syntax and its output. Coding/writing/scripting. The next step goes out to the viewer, beyond
the grasp of the initial guiding spark of creation. As the language develops its own structure it meets other bodies and forces (audience) who are always in
the process of developing their own language structures and rhythms. This symbiosis is the where art is defined and revealed; in this case--and as an extension
of the original show “text for something”--as a process of looking as reading, and reading as imagining.
In this show, in no particular order, we count views, we read a figure in words, we highlight new ideas from existing ones, we imagine a psycho-physical
environment through verbal language, we flash through interlaced image as moving code, we observe new inventions of handwritten code.
Impossible to hide a predilection for art as an affective phenomenon, probably because early art encounters have proven so formative not just to art-making
and receiving, but also to a subterranean pool which fuels and colours perception broadly (politically and existentially). This is a personal bias; the invitation
to accept or reject is offered in equal, unbiased measure.
A scripted pause sets up a structure of time which sensitizes the past and activates the present. We crouch, spring-loaded, in wait.
See you next show.
Viviana Troya (”Sequence” http://longing.space/comparative-time/) graduated from the University of
Los Andes’ PG Diploma in Multimedia Creation before moving to London where she is currently completing
her MA in Contemporary Art Practice at the Royal College of Art. Her work observes the influence of technology
on contemporary life, exploring subjects such as social connectivity and intimacy.
Recent exhibitions include All Your Diction, Espacio El Dorado Gallery, Bogota (2018); New
Names Miguel Urrutia Museum of Art (MAMU), Bogota (2018 - 2019); New Contemporaries, South
London Gallery, London (2018). Selected awards include the Scholarship Beca para colombianos
en proceso de formación en el exterior, Ministry of Culture (2018); Honourbale Mention, Artist
Residency Conseil des Arts et des Lettres du Québec (2017); and First Place, X National Young
Art Competition, Spain Embassy and Sanitas International Foundation, Bogota (2014).
Sara Kelly (“Pub Talk”) lives and works in London. She graduated from Middlesex University with
an MA Design for Interactive Media (1996). She also holds a BA in English and Drama.
Currently on the Turps Banana Correspondence course, Sara is interested in interested
in painting in relation to other media and the dialogue between screen and paint.
Exhibitions include: Feminist Library, London (2014), ‘Feminist Graphic Arts’, (exhibiting artist/group show),
PBA Prints/Gallery, London (2014) ‘Showcase of Printed Works’, (exhibiting artist/group show),
Testbed Gallery, London (2013), ‘Acts of 2’, group show, (exhibiting artist/group show), Blue Print, London (2010),
‘In Time’, group show, (exhibiting artist/co-curator/group show), Triangle Space, London, (2009) ‘perFORM’,
group show, (exhibiting artist/group show).
Cradeaux Alexander (“TheThingInTheHouseInTheClearing”) is from Los Angeles and currently based in London.
He works and exhibits internationally across a range of media. Recent highlights include a recent
mid-career retrospective “Scripted Bodies” which included the world premiere live performance of “bluebeard”,
and staging the UK premiere of Picasso’s “Desire Caught by the Tail” for Bow Arts, London, as well as Beckett’s
New York stage premiere of “Eh Joe”. He is a PhD candidate at Royal College of Art, and his practice-based research
investigates the influence of theatre technique and theory in fine art practice. He is the artistic director of LUXE and
continues to explore a wide-ranging performance-based practice, including as an actor in many stage plays and films.
He has a BA in Fine Art from Chelsea College of Art, an MA in fine art from Royal College of Art, and studied theatre
at Lee Strasberg Institute in New York (cradeaux.com, luxe.org.uk). His work has been the subject of BBC’s Front Row
and CNN International’s Amanpour programme, amongst others.
Frances Young (”I’m Hacked”) is a UK-based artist who has been working with moving image for around fifteen years.
Her work has been exhibited and screened nationally and internationally, including at: Focal Point Gallery, Southend;
Art Night x DRAF, London; MK Gallery, Milton Keynes; Royal College of Art, London; and on ARTE TV
(France / Germany / Worldwide). She is currently a research student at RCA (London), undertaking a practice-based
PhD: Between Movement and Stasis: Loops within the Durational. Her work is in the collections of David Roberts Art
Foundation (London, UK); Gemeentemuseum, Helmond (Netherlands); University of the Arts London (UK); and
private collections in the UK and USA.
Marina Stavrou (”Beast”) BA in English Literature (Athens School of Philosophy, EL), MA in Fine Art (Utrecht Graduate School of Visual Art and Design, NL).Writing, drawing, printmaking and filming. For four years member of research group of read-In collective (Utrecht, NL).
Yuxi Xiao (”yxXxL”) (b.1994) is a Chinese artist and currently doing her first-year MA in Contemporary Art Practice at
Royal College of Art. She graduated from Cornell University in 2018 in BFA with a minor in Plant Sciences. Her practice
activates the notion of neutrality opposing the binary system through performative and conceptual works. She has shown
in the UK and USA, including exhibitions Party of Six, Experimental and Olive Tjaden Gallery, NY (2017); Walking,
Experimental Gallery, NY (2016); Fit, Olive Tjaden Gallery, NY (2015).