In collaboration with
Katrina Blannin, Abi Box, Lee Edwards, Rab Harling, Lee Maelzer, Valeriya N-Georg
Tuesday 13 December 6-9pm
Wednesday 14 - Sunday 18 December
Haloclines is a project by Iavor Lubomirov exploring the making of work in collaborative pairings. Through a body of collaborations with six other artists, Lubomirov is searching for the visual and conceptual boundaries that form between two artists’ interventions within a single object – those edges where the eye can suddenly discern the beginning of one artist’s hand and mind and the end of another, and vice versa.
The exhibition takes its title from the visual phenomenon which occurs within a confluence of two bodies of water of different salinity - a halocline. In this project there is a similar sense of two different exhibitions embodied within the same collection of work. Both a solo project and a group show, Haloclines carries notions particular to Lubomirov’s background as both an artist and a curator and of the kind of relationships and conversations that emerge from this experience. Thus the exhibition reads like a curated group show, comprised of different, but related objects and styles, while simultaneously it should be possible to observe, emerging amongst these diverse works, a clear, unifying, underlying whole, with visual veins of geometry, running through the works in the form of squares, rectangles and ellipses, of systematic assembly, and recurring elliptical curves, which speak not just of the mind of a curator, but also the hand of a single artist
Lubomirov’s work is primarily sculptural. He aggregates physical shapes, usually built up in layers, as a way of exploring the materiality of time through the sequential accumulation of matter. For the most part, in this exhibition, he has sculpturally transformed the work of other artists by cutting and reassembling their paintings, prints or photographs. The interweaving leitmotifs are the positive and negative ellipse-based prism, or column. The process is reversed for two of the collaborations, so that Lubomirov’s work in turn becomes the basis for another artist’s. In one of these, an early paper sculpture is deconstructed into its individual layers and its negative spaces ‘plugged’ with printed images, cut to size. In another, Lubomirov has lent his geometry to a painter, who then interpreted and transformed it using her own language and intuition about shape and composition and adding elements of colour and space.