LONDON.- Camilla Grimaldi
presents a group exhibition featuring the work of four female artists: Heidi Specker, Clare Strand, Fleur van Dodewaard and Faye Heller. Architectural Landscape brings together for the first time a selection of images from, respectively, the series Im Garten II, Spaceland Flatland, 131 Variations and Sky Views.
The exhibition aims to study the structural principles that underlie modern architecture and how those relate to the construction of an image by examining materials and their visual appearance. The exhibition reflects on photographys relations to the concept of structure, with a sophisticated selection of intriguing photographs and collages that combine architecture, human presence, and flora to form graphically composed scenes.
The series Im Garten II develops a city portrait which consists of a combination of various elements: fragments of buildings, window views and facades, as well as organic imagery. Whereas earlier works were dominantely defined by graphic patterns and surfaces, the new series displays an increasingly important role of colour and light.
Clare Strands work is based on the XIX century satirical novella, Flatland: A Romance of Many Dimensions by Edwin Abbott Abbott, that tells the story of a sphere from Spaceland (a 3D world) visiting a square in Flatland (a 2D world) in the hope to introduce a new apostle to the idea of a third dimension.
Strand presents here the square/cubes as a single epic piece creating a photographic work in two parts: one takes the form of a three dimensional cube, and the other is the two dimensional representation of its flattened form. Strands work is here playfully manipulating the two dimensionality of the photographic medium hinting at the possibility a multi-dimensional 'nth' world.
Fleur van Dodewaard
131 Variations is a reinterpretation of Sol Lewitts 122 Variations of Incomplete Open Cubes. In his quest, Lewitt discovered 122 ways of leaving the cube unfinished. Van Dodewaard set about recreating and photographing the piece seeking to produce an exact copy. In the process things went wrong and some cubes went missing, others appeared double and previously unknown variants arose. With her series van Dodewaard demonstrates that the 122 variations listed and presented by Lewitt did not represent an exhaustive spectrum of all conceivable possibilities. Accordingly, the failure consciously introduces moments of arbitrariness and irrationality into this process to allow for an element of coincidence.
Interested in the philosophical issues around authenticity, identity and originality, Heller appropriates images to create montages and photographs evoking a cinematic narrative. My work implies something happening beyond; and you can see a section of it. The cut up images showing around the corner, just out of view, the building outside and a snapshot of what might be going on within.