Exhibition: Wednesday 16 – Sunday 20 Jan 2019, 12-6pm
Private View: Tuesday 15 January 7-9pm
APOPOCLECTIC @ Lewisham Art House features UCA MA Fine Art Farnham student work and refers to the multi-layered complexities of the contemporary world – an eclectic lament played out through the media of film, photography, sculpture, painting and installation.
The work belies an underlying sense of rage, anxieties about misrepresentation of identity through public data, the Anthropocene, the overwhelming quantity of information online and disconnection of human experience with the increasing reliance on technology.
This cornucopia of work provokes essential and existential questions about being in the world. Going beyond pure fury, the work portrays a sensitive, unique and nuanced set of personal responses to the complex gifts of the past, confusing challenges of the present and the potential of a social and environmental apocalyptic future.
Hollie Sylvia Rose’s practice focuses on human emotion, the need to reflect upon oneself and the world by establishing an intimate link with her viewers. Whilst intelligently engaging with personal subject matter, she uses film and photography to examine mental health and belonging in the context of the overuse of technology, disconnecting us from the world, each other and ourselves.
In her work ‘Mulatto’, Daisy Wednesday looks deeper into heritage, belonging and mixed race identity investigating what it means to know and not know when tracing personal lineage, unearthing acute understandings of the positives and negatives of each state. ‘Why I have felt a discomfort in the unknown’ she asks ‘yet empowerment within the smallest of connections to people or places…as if uncovering a hidden, unexplored part of one self’.
Through her vernacular and personal visual language, Consuelo Simpson interrogates our increasing lack of physicality and connection to each other describing her perspective on the historical narrative embedded in place and landscape. In doing so, she probes our psychological need to belong, as an antidote to the growing malaise of isolation, amid the morass of information available to us, and the largely ethereal world through which we chart an uncertain course in a persistent state of anxiety.
Uriya Jurik explores Dystopic Landscapes and asks searing questions about the environmental consequences of the Anthropocene particularly in relation to the impact of the extracting industries, highlighting the irony of corporate marketing campaigns using beautiful sunset scenes of ‘nature’ silhouetting oil rig, pump and drilling equipment that is destroying it.
In his paintings, Giles Ford explores the microscopic world of micropalaeontology interweaving different spectrums of and feelings for time, juxtaposing the delicate transience of life with the longevity of geological infrastructures and creating complex integrations of images into a poetic aesthetic. He is interested in the social, political, economic and environmental role of the oil industry (past, present and future) which he investigates and interrogates through geological and artistic lenses, experimenting with images, maps and data sourced from thin section microscopic fossils and Micro-palaeontological labs.
140 Lewisham Way,
London SE14 6PD