|Exhibition dates: 16 September - 12 November 2005|
Preview: Thursday 15 September 6:00pm - 8:00pm
"An archival impulse with a distinctive character of its own is once again pervasive [in contemporary art]."
"The seduction of the archive has never been greater."
'When I Lived In Modern Times' brings together seven artists - working across painting, photography, architecture and film - who explore representations of modernity. Each works with archival material from diverse sources to examine the relationships between collective histories and personal memory.
Alice J Anderson's video 'Les Deux Voyageuses' combines fact with fiction to create a work which is part travelogue and part history painting. Taking her starting point from a photograph album she discovered by chance, which recorded two ladies' holiday across Europe in 1939', Anderson uses various sources to bring their story to life.
Alice J Anderson, Stills from 'Les Deux Voyageuses', video, 2005
|James Carrigan's 'Machine #1.4' is a temporary architectural installation which transforms the gallery into a space for new types of contemplation. The Machine recreates Buckminster Fuller's geodesic dome - arguably the most revolutionary building type of the 20th century - into a mobile environment which is poetic rather than pragmatic. |
James Carrigan, 'Machine #1.4', test rig production 2005 Generously supported by: Arts Council England, Selee Corporation, All Metal Services, Complete Fabrication, Access Engineering. Porvair plc
|Samuel Herbert's paintings are drawn from photographs of Britain's colonial history and aristocracy. The images, initially appearing to be from Victorian times, are often recreated from documents within living memory. The results echo archaic genres of painting, eliciting an uncomfortable empathy for groups associated with oppression. Herbert reveals the full extent that "the past is a foreign country". |
Samuel Herbert, 'Tour of Duty', oil on canvas, 2004
|Louise Hepworth's photographic archive 'The Black and White Years' encompasses four years of her work and earlier life, spanning intimately observed moments as well as turbulent events in the public sphere. Hepworth's photographs provide us with a record of the large-scale political changes across Europe at the turn of the millennium as much as the routines and order of ordinary lives. |
Louise Hepworth, Detail from installation, 'The Black and White Years', 2005
|Hideko Inoue's paintings are based upon the photographic albums of her Japanese grandfather's early life: they document people she has never known, and places she has never visited. Painted in colour but from black-and-white photographs, Inoue's paintings are as much an invented, imaginary past as a transcription of real events. |
Hideko Inoue, 'Umbrella', acrylic on canvas, 2004. Supported by Glasgow City Council, Glasgow Visual Artists Grant.
|Laura Lancaster's paintings are based upon the self-contradictory idea of 'secondhand' photographic albums. Each of her works begins with a discarded photograph album she has discovered, or bought in junk shops. The photographs, often recording the most important or poignant moments in people's lives, become transformed in Lancaster's hands into luminous icons. |
Laura Lancaster, Untitled, acrylic on canvas, 2004. Courtesy Workplace, Newcastle
|Dolly Thompsett's paintings begin life as amalgamations of images drawn from photographs taken across the 20th century. Built in numerous layers, Thompsett's paintings seem to condense time. In her work, history exists in the most visceral, and sensational of ways.|
Dolly Thompsett, 'Open Excavation', oil, acrylic, glitter, and resin on linen, 2005
Courtesy Ritter/Zamet Gallery, London