TIME AND PLACE:
@ White Cube, 144-152 Bermondsey Street, Bermondsey, London SE1 3TQ
‘The Illuminating Gas […] systematically imposes a formless anxiety, diverging yet centrifugal, directed not toward the most withheld secrets but toward the imitation and the transmutation of the most visible forms: each word at the same time energised and drained, filled and emptied by the possibility of there being yet another meaning, this one or that one, or neither one nor the other, but a third, or none…’
– Michel Foucault
An exhibition of new works by Cerith Wyn Evans. Wyn Evans’ works exist and take form through the reflection on and interrogation of the world about us, adopting what Martin Prinzhorn has identified as strategies of ‘superimposition and contradiction, by concealing and revealing’, to create moments of rupture within existing structures of communication whether visual, audio or conceptual. For this exhibition, he has focused on ideas around the flows of energy via material and immaterial conduits, circuitry and choreology – the practice of translating movement into notational form.
Wyn Evans has produced a group of sculptures that question our notions of reality and cognition, perception and subjectivity, forming an exhibition as experiment, with recourse to scores, maps, intervals and diagrams.
Three neon works which are suspended from the ceiling take their form from the codified and precise movements of Japanese Noh theatre (Neon forms [after Noh I, II and III], all 2015). Relating closely to the artist’s earlier sculptures which translated diagrammatic flight paths into neon, these new works present a maze of complex lines that trace the trajectory of alignments, gestures, folds, orientations and footsteps; transposing and transforming energies into both material charge and visual form.