Mind map
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Graham Ellard and Stephen Johnstone's Everything Made Bronze is installed this month in the serene, intimate haven of the Estorick Collection in North London. The film is encountered first - the vintage Eiki and silver screen a poised, slightly theatrical presence in the first floor gallery. The artists' steady, watchful lens observes changing (sun)light over, on and through glass display cases at Carlo Scarpa's Museo Canova in Northern Italy. Shadows, reflections and diagonal light beams render abstract, tectonic patterns in the cabinets' panels; the plaster casts within fade ghost-like in and out of view, bathed in and bleached out by the soft (bronze) rays, but also fractioned, striated by the slices of light. The static camera flattens, abstracts the scene into a geometric collage, the graphic effect heightened by the polka-dot patterns of the sculptor's points. The rich, crystalline reverberation of Colleen's Echoes and Coral seems to fill the room with glass - a dreamy, liquid sound.
Graham Ellard and Stephen Johnstone's Everything Made Bronze is installed this month in the serene, intimate haven of the Estorick Collection in North London. The film is encountered first - the vintage Eiki and silver screen a poised, slightly theatrical presence in the first floor gallery. The artists' steady, watchful lens observes changing (sun)light over, on and through glass display cases at Carlo Scarpa's Museo Canova in Northern Italy. Shadows, reflections and diagonal light beams render abstract, tectonic patterns in the cabinets' panels; the plaster casts within fade ghost-like in and out of view, bathed in and bleached out by the soft (bronze) rays, but also fractioned, striated by the slices of light. The static camera flattens, abstracts the scene into a geometric collage, the graphic effect heightened by the polka-dot patterns of the sculptor's points. The rich, crystalline reverberation of Colleen's Echoes and Coral seems to fill the room with glass - a dreamy, liquid sound.
Then, in an adjacent room, an acrylic and gold-leaf maquette of the Museo presented in front of, and reflected in the squares of, a paneled sash window. The more abstract, architectonic shots in the film are now revealed to be close-ups of the model and a new dialogue is at once proposed between film and object.
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Today marks the beginning of my final month with Reside. If you are interested in being the next artist in residence please take a look at the application information and send your submission via the contact form on this site. The deadline for application is 5pm on Thursday 25 July.
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