PAST

FACT

14 April 2011 - 28 May 2011

Darren Harvey-Regan
& Kate Pickering

FACT
14 April – 28 May 2011

DARREN HARVEY-REGAN
2008-2010 MA Photography Royal College of Art
Bloomberg New Contemporaries 2010
Catlin Art Prize 2011

These two artists are both using devices to accommodate doubt or negotation.

Darren Harvey Regan’s inspiring and quirky work tackles the difference between our self-awareness and the lack of self-awareness in the animal world.
He constructs sculptural tableaux and dramatic photographic scenes where representation is under scrutiny. His practice doesn’t express certainty, there is a lightness, humour and aesthetic simplicity – all of which are devices designed to accommodate doubt or negotiation

Several of the works in the show consider the archival displays of the museum, the construction of 'nature' and the positioning of a viewer as one being 'taught' by systems of objective knowledge. “My display of somehow redundant or indeterminate knowledge has, for me, a certain humour. It's not to say these names and these systems have no meaning, but it is to try and hold the tension that whatever meaning they have only derives from our need to create it and use it to order and make sense of the world around us.
There is a certain hybrid of photography and installation that has crept into my practice of late; an interplay between the photograph as object, the object as photograph. I aim to follow this by drawing on further ideas concerning limits and resistance, authorship (and the loss of it.) I see the medium of photography, with its treacherous relationship to truth claims, as being particularly pertinent to my concerns.........’As well as being a thing to think about, a piece becomes something to think with”.


KATE PICKERING
2006-09 M.F.A (Masters in Art Practice) Goldsmiths College

Kate Pickering works predominately with film and text. Often casting herself as the central figure, her films draw on issues around existentialism, belief and the question of a gift or talent as a bestowed virtue. It is not always clear to the viewer whether the dead-pan character Pickering presents is a reality, or if the viewers themselves are being taken on a ‘ride’.

Pickering seems to cast herself, in both text and film, as a prophet-like figure, questioning the meaning of art and creating a discourse that is at home in the post-modern world. Her manner could be perceived as ephemeral or faltering, yet her apparent message and choice of words are by contrast absolutely direct.
Untitled (The Only Possible Answer) contains the threat and embarrassment of sincerity, either disturbing or entrancing with the confident passion of a believer, talking about truth, thereby reflecting back the position of the viewer. Through this strategy of over-identifying with the fervor of belief in some higher purpose, the work aims to upend the expectations of a liberal disenchanted audience, with whom this proves awkward and difficult to accommodate. These kinds of words and thoughts are not allowed in the art world but the work is cyclical and tautological and becomes a complete statement.

Opening Wednesday - Saturday 12:00 - 18:00