Artist: Cerith Wyn Evans
Venues: Michael Lett, Auckland; Hopkinson Mossman, Auckland
Exhibition Title: Transmit/Receive
Date: April 11 – May 10, 2014
Full gallery of images, press release and link available after the jump.
Images courtesy of Michael Lett, Auckland and Hopkinson Mossman, Auckland.
Hopkinson Mossman and Michael Lett are pleased to present transmit/receive, a solo exhibition by Cerith Wyn Evans. The exhibition will take place across both gallery spaces, and mark the first exhibition of Wyn Evans’ work in Australasia.
Cerith Wyn Evans’ conceptual practice can be characterised by a phenomenological interest in the nature of perception and a curiosity for the liminal space between thought and experience. Concerns and questions of communication, transmission, contradiction and flux are at the core of Wyn Evans’ work. His practice is both intellectually and philosophically rich, and formally balances material decadence with, at times, an austere minimalism.
Wyn Evans’ process is one of poetic interference. Throughout his practice, words, phrases and extracts drawn from literature, philosophy, film and critical theory are used both as forms in themselves and as generators of voids, stutters or stammers. History’s greatest cultural icons and most radical creative minds (such as Guy Debord, William Burroughs, Brion Gysin, Stéphane Mallarmé, to name a few) are cited and quoted.
Wyn Evans uses materials as a filter – light, neon, literature, glass, mirror, paper, sound – to create ruptures in space that act as proposals for other kinds of experience. His subtly immersive installations appear like reduced, abstract mise-en-scène where sculptures generate sensations, tilt the viewer’s perception and encourage a free flow of associations.
For transmit/receive, Wyn Evans has conceived of an exhibition across two gallery sites. The installations are contrapuntal; harmonious but independent, connected yet with nuance in tone and affect. The works in transmit/receive draw on texts and music as source but the translation to artwork is encrypted; a chandelier is wired to transmit music through flashing light signals like Morse code, and illuminated neon texts propose poetic interruptions. Like invocations or séance, Wyn Evans’ works invite us to revisit the lyrical or generative space created by these words in the artists mind.