The online editorial and curatorial project for reductive, geometric and systems artists working in the UK
Essays by Karl England, Guido Winkler and Gabriele Evertz
Written to accompany the exhibition ‘Extended Process’, March 2017.
©Copyright Patrick Morrissey and Clive Hancock All rights reserved.
EXTENDED PROCESS (Part 2) | Guido Winkler
Many artists are probably familiar with unfinished experiments that wander around
the studio, hang unfinished for ages on a wall, or are left alone in a dark drawer.
Finishing some of these early experiments feels like a welcome opportunity for an exhibition in a chest of drawers. The title of this exhibition is Extended Process, and is being curated by Saturation Point’s Patrick Morrissey and Hanz Hancock, in conjunction with APT projects.
Opening a drawer is a nice way to reveal a work. A closer, fresh look. It can be a more intimate way of seeing than publicly viewing a work of art on a wall. With this in mind, I have chosen these works for this exhibition.
Drawer one shows an early, glued, very small painting. It might be from 2010. I glued two parts of wood together because I must have liked the wood pattern. In essence it’s nothing special, but it became the start of something new.
The second drawer shows a work I made for Sugar Mountain in the Van den Berge gallery in Goes. It was one of the first wooden, folded works I made, and the first one I presented in a gallery.
('Sugar Cube', acrylic on wood, 30x30cm)
The third drawer contains two 3D-
Drawer four is showing another try. I started this one in 2012, and repainted it for this exhibition in February 2017.
Untitled (Be), acrylics on wood, 36x43cm (2017).
The fifth drawer contains a new painting as object. (Jan 2017), Untitled, acrylics on wood, 35/23x37cm.
Drawer six: One of the many (X), acrylics and alkyd on wood, 31x31cm (2015). Most
of this series have been sold or swapped. This particular one, which I made in Sydney
for the exhibition IS comes to SNO (Sydney Biennale off-
The wall painting is based on the same motif as the works in drawers two, three and four. This work blends in the exhibition at Brigitte Parusel's APT Studio, temporary.
SLUICE | Karl England, 2016
As an artist-
In our first year, in 2011, the New York gallerist Stephanie Theodore brought her
gallery Theodore:Art to Sluice_2011; in our second year (Sluice_2013) Theodore:Art
and four other Bushwick galleries participated (Parallel, Wayfarers, Et Al and Schema).
As our Brooklyn contingent grew, independently, back in the States, Theodore:Art
and Centotto Gallery had been developing the Bushwick Expo idea. At Sluice_2013 we
held a panel talk entitled 'Why Bushwick, Why Now?’' which looked at how Bushwick
had sprung up as the newest enclave for artist-
With the aim of utilising the growing relationship between the Bushwick scene and the network Sluice had nurtured, it was decided that it would be mutually beneficial to make the expo a truly international exercise. Essentially, Sluice would manage the expo and coordinate all the international visiting galleries. Centotto and Theodore:Art were responsible for coordinating the Bushwick host galleries.
AN INDUCTION | Gabriele Evertz
I am interested in the sensation and perception of color interaction. The history and theory of color serve as organizing tools. Simple geometric elements function as basic formal units, or color situations.
Color requires a vessel. Bands, stripes, and diagonals are among the most neutral shapes available to me. In visual experience, we expect symmetry. A centre is established when two main structural lines cross. It becomes the basis for subjective action, spreading energy equally through the visual field, because the viewer’s glance coincides with the axis of perspective. To counteract this element of stability, less predictable breaks along a line can be employed to induce a state of unrest.
Of all of the visual elements, color is the most unstable factor, depending on its
placement, size, and quantity. Whereas shapes always hold their identity -
This series of investigations explores the balance between both centric and eccentric forces. In planning my work, I intentionally keep the presence of the observer in mind. The sudden perception of color shifts and the sensation of intensive light emanations, which come with immersive viewing, are the rewards that the painting bestows on us. Vision, feeling, and thought come together in the perceptive viewer, who becomes a partner, thus completing the meaning of the painting.