![Installation view, NEXT:PREVIOUS , Gerald Moore Gallery. LEFT: Andrew Bick: OGVGGT [double echo], 2020 RIGHT: Susan Morris, Binary Tapestry & Binary Tapestry (Reversal) , 2016. Photo: Josef Konczak.](https://images.squarespace-cdn.com/content/v1/686d401c6efc130268642501/066c2d2b-406b-4eac-bcdb-1efaa5658c6d/003+BICK-MORRIS_Next-Previous_014_high-res-2.jpg)
The Gerald Moore Gallery is pleased to present Next:Previous, a group exhibition curated by Steven Scott that brings together works from eight artists with practices established in diverse fields to offer correlations between form and reference, concurrency and possibility. The exhibition will run from 2nd to 30th September 2023 and includes pieces by Andy Bannister, Frederick Bell, Andrew Bick, Peter Downsbrough, Susan Morris, Nicola Rae, Steven Scott, and Clare Strand.
The selection of works for this exhibition began from structural concerns around dual and multiple images and interrelationships between the temporal sequence and the spatial array. It is hoped that alignments perceived as a result of bringing these different works together will allow for new relationships and perceived concurrencies to be revealed.
The exhibited works include a dual painting by Andrew Bick titled OGVGGT [double echo], and a double tapestry by Susan Morris, Binary Tapestry & Binary Tapestry (Reversal). These pieces have been described in relation to notions of ventriloquism and the channeling of one aspect of the work through its other in asymmetrical circuits. Viewed this way these works incorporate doubling modes of translation that play out in alternating shifts between concurrent states and references to spatialised time and the marking of lived events.
Clare Strand’s Spaceland/Flatland consists of darkroom generated images and sculptural objects that form spatial sequences and shape-shifting arrays. The work references Edwin Abbot’s 1884 novella Flatland with its satirical use of hierarchies of form and dimension, alongside Eastman’s patenting of photographic film and the subsequent increase in viewing the world as 2D images. Notions of translation between dimensions also inform the dual projection piece by Nicolas Rae, Remote Sensing Sonification: Jupiter Aurorae, in which she transposes digital recordings of Jupiter’s auroral data between image and sound
Frederick Bell’s paintings of sequenced forms in The Conversation, Diagram Painting Number One describe both directional flows and mapped positions as overlapping events across four panels, and the print Delay/Delay by Peter Downsbrough reminds us how repetition and mirroring can slow the immediacy of language, here rendering it concrete in the collapsing of form and content.
Andy Bannister adopts pictorial and schematic forms in a dual drawing titled Container / Contained / Sellafield ’16 to allude to nuclear half-life, extended duration and an unknowable future, and the light and photogram works from the series Sequence and Stereograph by Steven Scott attempt to frame perceptions of phasing and parallax shifts as a visual experience that maintains a potential for future concurrencies.
Steven Scott, Allusions to Illusions, 2023
INTRODUCTION
The works in the exhibition Next:Previous were selected in anticipation that they might accentuate and complement each other when experienced together. My hope is that the references and rhythms that underpin each piece accumulate in the imagination to form subtle resonances and oblique alignments, and from this questions will arise that challenge my previous thinking around methods of extension and sequence.
This text is intended as an adjunct to the exhibition and is designed to add different perspectives to the interrelationships that form between the images and objects on show. So rather than writing an overview of the works themselves I begin this text by offering a series of filmic references, and open these out to propose rhythmic relationships between image sequences and dual compositions in the hope that these notions offer parallels to the show as a whole.