Off to Korea next week with Jon Sasaki and Jinny Yu. I hope to achieve some version this (the shipping container is a camera obscura):
When Buildings Take Pictures of Themselves
Full video of my talk on March 3rd, 2016. 53 minutes.
University of Westminster, Northwick Park, Metropolitan Line
ANDREW WRIGHT: DATA TRESPASS
11 MARCH 2016 – 10 APRIL 2016
London Gallery West is delighted to present works of acclaimed Canadian artist Andrew Wright. The artist’s international solo exhibition features a new London Gallery West commission; a large site-specific photographic installation that adorns the 24 windows of the glazed façade of the entrance to The Forum. This new work, titled Surge, was photographed in Wyoming’s Yellowstone National Park, the most geo-thermically active location on the planet. Consisting of never–before–seen images of tumultuous geysers shot at night with high-powered flash, it presents unquantifiable detail while at the same time inviting a reconsideration of photography’s veracity. These images are a continuation and expansion of Wright’s Illuminated Landscapes series begun in 2001, and are reminiscent of his well-known Water’s Edge (2005), shot at the base of Niagara Falls. Using techniques drawn from the indoor photographic studio and applied to landscape, an overt artificiality characterizes large images that contain both complexities essentially impossible to depict or describe, even photographically, and areas of utter void and empty blackness.
Online exhibition celebrating Ontario for Chinese and Canadian audiences featuring:
Curated by Scott McLeod
Project Manager Craig D'Arville, Executive Producer Zhe Ghu, Ontario Arts Council
Andrew Wright: Data Trespass
London Gallery West
Westminster School of Media, Arts and Design
University of Westminster
Watford Road, Harrow, HA1 3TP
T: +44 (0)20 7911 5970
EXHIBITION PRIVATE VIEW
Thursday 10 March 2016, 5 – 8pm
March 2016 (tbd), 1-2pm
Tour of the exhibition with artist Andrew Wright and David Bate, Professor of Photography at the University of Westminster in conversation.
Free, open to all.
EXHIBITION OPENING TIMES
Until 10 April, 9am – 5pm daily
Free admission, open to all.
Press images available on request
London Gallery West is delighted to present works of acclaimed Canadian artist Andrew Wright. The artist’s international solo exhibition will feature a new London Gallery West commission – a large site-specific photographic installation that adorns the 24 windows of the glazed façade of the entrance to The Forum. This new work, titled Surge, was photographed in Wyoming’s Yellowstone National Park, the most geothermically active location on the planet. Consisting of never-before-seen images of tumultuous geysers shot at night with high-powered flash, this work presents unquantifiable detail while at the same time inviting a reconsideration of photography’s veracity. These images are a continuation and expansion of Wright’s Illuminated Landscapes series begun in 2001, and are reminiscent of his well-known Water’s Edge (2005), shot at the base of Niagara Falls. Using techniques drawn from the indoor photographic studio and applied to landscape, an overt artificiality characterizes large images that contain both complexities that are essentially impossible to depict or describe—even photographically—and areas of utter void and empty blackness.
Other works include Data Trespass: Illegal Photographs, a conceptual suite of panoramic images that antagonize a recent Wyoming statute that makes outdoor photography an illegal and indictable form of data collection. Accompanying this photographic series is a new video also titled Data Trespass whose footage derives from a mock trial where Wright was prosecuted for his apparent contravention of the Wyoming ‘no photography’ law.
Dawson Looking Glass troubles conventions of landscape and street photography by picturing a photo-performance with a large mirror in the Yukon during ‘midnight sun’, the longest day of the year. Also featured are sculptural works such as Disused Twin Brownie Hawkeye Cameras, an example of Wright’s ongoing use twinning, mirroring and doubling as part of a complex play on perception. Beijing Odyssey is a contemplative video work shot from Beijing hotel room and offers a drastically occluded view of a massive LED advertising billboard that explores the zones of transfer and exchange between the marvels of the machine age and the visual culture of modernity.
Wright’s use of photography is decidedly non-conventional as it challenges lyricism and traditional pictorial aims and favours an exploratory, evocative approach that probes optical and representational technologies, their cultures, their histories, conventions and conceits. Wright’s photographic, sculptural, and video practice critiques the photographic activities of depiction and representation. His provocative use of photographic materials and photo-like procedures suggest alternate ways of both considering and interpreting image and object. For Wright, meaning is often derived from conditions or circumstances outside of or in direct opposition to information presented as depiction.
Andrew Wright’s artistic practice sits at the intersection of traditional and conceptual forms of artmaking. Recent exhibitions include: Penumbra, Scotiabank Contact Photography Festival, Toronto (2013); Selected Diptychs & Multiples, Thames Art Gallery, Canada (2014); Pretty Lofty and Heavy All At Once, Ottawa Art Gallery (2015); Untitled Photographic Pictures, Patrick Mikhail Gallery, Montréal (2015); Xi’an Art Museum, China and at Beijing's Today Art Museum alongside the works of Michael Snow, Ed Burtynsky and Iain Baxter&. Two of his photographic works were selected for permanent installation at the newly refurbished Canada House, Canada’s High Commission on Trafalgar Square in 2015.
Wright has also exhibited at Presentation House, Vancouver, the University of California, Berkeley, Oakville Galleries and Photo Miami. As an artist-in-residence, he has worked at the Banff Centre and at Braziers International Artists Workshop (UK). He was a 'war artist' with the Canadian Forces Artists Program, aboard Canadian warship HMCS Toronto. He won the inaugural Gattuso Prize at Scotiabank Contact Photography Festival in Toronto (2011). Andrew Wright is represented by Patrick Mikhail Gallery in Montréal and Ottawa. He is an Associate Professor of Visual Art and Chair of the Department of Visual Arts at the University of Ottawa.
"…the photographic impulse itself is always already held in a tension between composition and incident…"
In recent years, Ottawa based artist Andrew Wright has produced numerous bodies of work that propose new readings on the ontology of the image. In particular, Wright's exhibition at Patrick Mikhail's new Montreal gallery space, titled Untitled Photographic Pictures, presents a series of large-scale photographic works and two mixed-media sculptural works that underscore the artist’s continued effort to use classical motifs and methods as a means to access broader questions concerning the medium of photography itself.
In this series of photographs, Wright opens up a rich interpretive space by taking the motif of the empty landscape and making it strange. Each photograph is a direct-from-camera snapshot taken through the window of a moving train. As he passes by the landscape, Wright makes a deliberate jerking motion with the camera that causes the otherwise clear, focused image to be interrupted. This destabilizing movement leaves the viewer continually distanced from the "original" landscape. Within the confines of the gallery space, these visual disturbances, or “knots,” are immediately apparent to the viewer; yet, the images, captured in the moment between documentation and abstraction, are not clearly revealed. At first glance – without consulting the exhibition text, for example – one might assume that the artist has digitally edited these images to arrive at an ideal formal state. However, the critical viewer will not read these photographs simply as either completely "untouched" or "altered," but will consider the ways in which the photographic impulse itself is always already held in a tension between composition and incident. The queerness of Wright’s arrival of the image is related to his broader interest in shifting the conversation away from representation or iconographic content and toward process itself...