This exhibition is called FABRICATORS. A fabricator is someone who makes things. He or she might be an engineer, a welder of a bridge-maker. James Capper, Alex Chinneck, Luke Hart and Sam Zealey are interested in how things are made, how they function and the properties of materials. The result for the viewer is the possibility of new ways to think about sculpture. Capper, Chinneck, Hart and Zealey are challenging our perceptions of sculpture, and pushing its boundaries.
The artists are thinking about ways to develop innovative sculpture using fabrication components, combined with their personal artistic practice. They are opening up their sculpture, and its audience, to a world that not only references art, and its traditional language, but also non art-related practices. James Capper sheds light on industry processes, Sam Zealey on science and engineering, Alex Chinneck on architecture and Luke Hart on cutting edge materials and science. All of the sculptures are technically highly complex and sophisticated, and accompanied by deep cerebral concerns.
The artists exhibiting in FABRICATORSare constantly problem-solving; creating sculpture that can suggest answers to spatial concerns, and, in doing so, pose new questions. These artists are investigating the relationships between humans and the physical structures and tools that we interact with on a daily basis. One aspect of this investigation is the exploration into the different possibilities of materials, including their molecular make-up, physical properties and applications.
By using cutting-edge technology, materials and processes these artists have transformed the fabrication of their sculpture to achieve the extraordinary from the ordinary. They have done so in surprising, and often witty, ways. The works are demonstrations of artistic developments and evolving experimentation into the form and function of sculpture. The ideas present in the works constantly lead each artist onto thinking about their next piece.
These artists are highly influenced by fields and disciplines outside of art, partaking in processes and methodologies that one would not consider as conventional art practice. The individual artists are curious and eager to learn about industry, machinery, engineering, architecture, pioneering technological advancement and science. And, in doing so, reveal work that is arguably influenced more by industry than the history of art. As an extension of this, we can see that the practice of these artists does not solely revolve around a physical studio but appears topically and intellectually integrated into the world outside of the studio.
Images: courtesy of Hannah Barry Gallery.
Jan 28- March 3, 2012
Unit 91, 133 Copeland Road, Peckham, SE15
By Alma Zevi