and the sooner the better

October 19 – 22 and 26 – 29
Open evening 21 October 6-8pm
Gallery One, The Mews
Galleries will be open Thursday to Sunday, 11am – 5pm
St Andrews Mews, Waldegrave St. (off Queens Road), Hastings, TN34 1SP

Between States

“Photography and sculpture have entered a more complex phase of their relationship, folding over each other, reversing positions, flipping back and forth, the one becoming the other” – Mark Godfrey- Image Structures, Artforum, 2005.

There is infinite play between photography and sculpture where tensions and transformative qualities are created between the flatness of the photograph and the volume of the sculptural. Rather than asserting that each medium possesses unique features giving a singular identity or medium specificity the photographers featured in Between States present a new perspective – where this relationship is not viewed as hierarchical instead as supplement.

Curated by Alison Bettles
Featuring work by: Alison Bettles | Agness Clark | Anne Mason | Marybeth Hass | Nicole Zaaroura | Mango Collins | Roger Hopgood | Sharon Haward | Sinéid Codd | Veronique Leplat

Exhibitors

Alison Bettles
Marybeth Hass

Marybeth Hass

For ‘Between States’ I’ve made three very different works exploring states within cycles of creation and destruction, past and present, flowering and dying, whether this be through ritual remembering and letting go human relationships: making a single object with many images that attempts to express and hold the essence of a simultaneously growing and decaying organic form amidst constantly moving elements; or continuing to creatively explore my relationship with Hastings Pier that has fascinated and inspired me for nearly 20 years.

@consciousarts1  |  consciousarts.co.uk

Roger Hopgood - Noble Salvage 1

Roger Hopgood

Noble Salvage I

This series of images makes use of transfer printed plates decorated with landscapes. Transitioning from the Chinese willow pattern design, plates with European picturesque scenes became highly popular in the nineteenth century. Today, for many, they are seen as quintessentially English, invoking both a sense of tradition in relation to home decoration, and alluding to a bygone era (and heyday) of English countryside. Although a great many designs exist, all, to some extent, follow a formula in terms of content and composition, and all seek to convey a similar warmth of emotion regarding the English heartland.

At times of cultural stress, when the fundamentals of our sense of identity and belonging might be felt to be irreversibly changing, the past can seem like an escape route, with the collective ‘memory’ of pastoral life seeming all the more inviting for its imagined anti-cultural ontology (as more natural than cultural). Seemingly, it is a place of down to earth, physical experience – distant from societal affectation and technological development and promising an authentic and tangible oneness with nature. In our English countryside experience, we often seek out relics of pastness, such as country house estates, museums of rural life and places of archaeological interest where standing stones or unearthed fragments of everyday life testify to an unshakeable continuity, overriding the skittish trends of modern living. These constructions of broken, mismatched plates might suggest a ‘paradise’ lost. Or alternatively, they might be seen as alluding more to the present, and a valiant attempt to hold together a comforting world view.

@hopgoodroger | rogerhopgood.co.uk

Veronique Leplat
Agness Clark

Agness Clark

Nicole Zaaroura

Nicole Zaaroura

A soft armour

Within a performing space, body, gesture and the sculptural ask questions of each other… my camera an intimate accomplice…

@nicolezaaroura  |  Blog at a-n.co.uk

Sharon Haward
PhotoHastings Member
PhotoHastings Member

Mango Collins

Sinéid Codd

Sinéid Codd

Thinking Objects, Talking Tales
Archival digital photographs, found objects.

For ‘Between States’, my experiments led me to making ‘Thinking Objects, Talking Tales’ – a new series of small jewellery based assemblages, in which tiny photographs of objects with their shadows (suggestive of voice and echo) become the gem-like focus, caught within a rusted or tarnished setting.

The materiality of lost or discarded objects can possess a poignancy that mirrors aspects of our human vulnerability. After all, material objects reflect our meanings and uses.

Curiosity, play and experimentation drive my practice, which encompasses found, collected and made objects, photography and painting, often brought together in dialogue within assemblages and installations that seek to invite inquisitiveness.

PhotoHastings
Share This