Gary Colclough: Choreography of Fragments
The artist鈥檚 physical or imagined entrance into a 鈥榮cene of nature鈥� often mimetically links with the behaviour of a birdwatcher. The searching and waiting, the tools of recognition and trust that allow for building a conjecture or, leaving a record - constitute the key moves delineating both figures. In his poem, Poet, Lover, Birdwatcher, the Indian poet Nissim Ezekiel conflates the dimensions of the lover and the birdwatcher with his own life-role as poet. Observation without risk and sensuality is an unseeing act. As a weaving together of life - both ornithology and love - are a 鈥榤eshwork.鈥�
The artistic act, hence, drifts from the rational grid of naming and being named toward reversals of 鈥榯he real鈥� in a sedimentary time. Across Gary Colclough鈥檚 artistic work, the architecture of seeing takes on a texture where multiple temporalities coalesce. The pictorial space is thus 鈥榮haped鈥� as both intimate ruin and subjectivized monument. If land is considered a forensic ground, Colclough draws out coded figures that disturb the boundaries between nature, culture and society.
His view upon terrain renders landscape(s)-in-action - as matter that matters. Unlike the all-pervading machismo of the 18th century landscape painter, this artist privileges a choreography of fragments: the below-surface detail, a georgic imaginary, material symmetry, and those quiet yet apocalyptic scenes that expose humanity鈥檚 complex relations to ecology.
Recommended for you
The artist鈥檚 physical or imagined entrance into a 鈥榮cene of nature鈥� often mimetically links with the behaviour of a birdwatcher. The searching and waiting, the tools of recognition and trust that allow for building a conjecture or, leaving a record - constitute the key moves delineating both figures. In his poem, Poet, Lover, Birdwatcher, the Indian poet Nissim Ezekiel conflates the dimensions of the lover and the birdwatcher with his own life-role as poet. Observation without risk and sensuality is an unseeing act. As a weaving together of life - both ornithology and love - are a 鈥榤eshwork.鈥�
The artistic act, hence, drifts from the rational grid of naming and being named toward reversals of 鈥榯he real鈥� in a sedimentary time. Across Gary Colclough鈥檚 artistic work, the architecture of seeing takes on a texture where multiple temporalities coalesce. The pictorial space is thus 鈥榮haped鈥� as both intimate ruin and subjectivized monument. If land is considered a forensic ground, Colclough draws out coded figures that disturb the boundaries between nature, culture and society.
His view upon terrain renders landscape(s)-in-action - as matter that matters. Unlike the all-pervading machismo of the 18th century landscape painter, this artist privileges a choreography of fragments: the below-surface detail, a georgic imaginary, material symmetry, and those quiet yet apocalyptic scenes that expose humanity鈥檚 complex relations to ecology.
Artists on show
