The finale of the exhibition programme of Carbon, Carbon Everywhere co-curated by Indira Dyussebayeva-Ziyabek and Maria Hinel at Hypha HQ included an exhibition tour, a BREAT(HOLD) workshop led by Ania Mokrzycka and an invitation to view cosmic particle trails passing through a cloud chamber.
This simple equipment of a plastic tank saturated with isopropyl alcohol vapour over a metal tray sitting on dry ice was used to capture footage for the video Cosmic Chiasmus: crossing the universe showing in the exhibition. Cosmic rays are fast-moving particles, blasted across space, spiralling along magnetic field lines to end up entangled with carbon in our bodies.
Not only is all life physically permeated by cosmic rays with the potential for nuclei collisions but some cascading particles smash into atoms of nitrogen to create carbon-14 which combines with oxygen in the atmosphere to create radioactive carbon-dioxide which enters the food cycle via photosynthesis. Cosmic ray activity creating Carbon-14 allows us to perform carbon dating techniques offering insights into Earth’s past climate, magnetic field, solar activity, and changes in the carbon cycle, helping to understand historical patterns and establish timelines for ancient human history.
The title of the exhibition, Carbon, Carbon Everywhere, is a quote from the landmark essay Carbon by the writer and chemist Primo Levi. In the essay, Levi traces a journey of a single atom of carbon across distinct states and beings, from the monotony of being embedded in limestone for hundreds of millions of years, to entering the world of ‘things that change’ – swiftly shifting from the atmosphere to the lungs of a falcon, to the sea, to the trunk of a cedar, and eventually entering the writer’s own body from a glass of milk on his desk, crossing into the brain cell that controls the hand writing its own story. Resolutely specific yet universal, Levi’s story highlights the singularity of carbon as an element that inherently connects all things through its relentless transformation. It fossilises, mutates, preserves, pollutes and nourishes. From its ancient geological formations to its current atmospheric volatility, carbon is never still, shifting between forms and contexts in an ongoing process of exchange.
‘It is possible to demonstrate that this completely arbitrary story is true. I could tell innumerable other stories, and they would all be true: literally true, in the nature of the transitions, in their order and data. The number of atoms is so great that one could always be found whose story coincides with any capriciously invented story’ Primo Levi
This was a beautiful show and I was thrilled to be invited to exhibit alongside such amazing artists including Emii Alrai, Anousha Payne, Kate Daudy, Konstantin Novoselov, Ania Mokrzycka, Nissa Nishikawa, Mariele Neudecker, Simon Faithfull, Aimee Parrott, Lucia Pizzani, Lizi Sanchez and Meng Zhou.
I am very excited to have an invitation to exhibit at the Safehouses in Peckham next year with a group of wonderful artists and friends. Curated by Julie Hoyle, the artists have been selected for the way their work resonates with the atmosphere of the Safehouses — places where traces of the past meet the imagined and the unseen. Together, the works will form a dialogue between beauty and unease, the real and the imagined, reanimating the stripped-bare rooms with strange company. We had a productive site visit and I have two spaces in mind to work with – one above and one below.
There is an ongoing refurbishment project at my studio complex which although welcome improvements has caused a little disruption to my ability to work there recently. My unit has had a new roof installed and each studio is being insulated with a new ceiling and opening Velux window. When the new roof went on we lost our ceiling windows so it is wonderful to have natural light from above again. Having to move everything out of my studio for a couple of weeks has been a good exercise in discovering long hidden materials and putting it all back has forced my hand to have a bit of a clear out of items I am unlikely to use and pass these on to other studio holders. Images show before, during and after.
I managed to get everything back into my studio just in time for a studio visit from curator Catherine Li to discuss the possibility of exhibiting at Brompton Cemetery Chapel next year. It is a stunning building so I am very excited about this upcoming project.
I have been experimenting with an old wooden slide viewer, printing images onto acetate from my microscope camera of polarised crystal and rock structures.
Work in progress on The Book of Reversals, writing text to print over the screen-printed magnetic graph lines. Ocean floor magnetic stripes are formed as magma cools at mid-ocean ridges. These alternating bands show Earth’s magnetic field reversals, with minerals in the crust aligning to current polarity and recording each change in pattern.
Colossal forces spinning dust
Aeons of accretion and gravity / shaping the debris of destruction
Searing elements separate / amidst violence and decay
The weighty fall, pulled down, digested / feeling pressure only diamonds can survive
Work in progress looking at the sacred geometry of the Westminster Abbey Cosmati Pavement and relating medieval symbolism with contemporary iconography to think about changing relationships to fire, water, earth, air and the cosmos. Reimagining imagery from the Cosmati Pavement and particle accelerator at CERN.
Out and About
Noémie Goudal And yet it still moves at Edel Assanti. Mesmerizing work. I especially found the work Rocks very effective, an inkjet print on photographic paper with a video projection that moves across the image highlighting certain parts as though a torch is traversing a dark landscape. I always enjoy the theatricality of her large scale video installations even if they do purport a world collapsing around us.
Gorgeous paintings by Helen Baines in Striding Edge at The Department Store, Brixton. Photos don’t capture the ethereal luminosity.
The hypnotic monument of modified LED laptop screens Wiped (Free Palastine) by Katrin Hanusch in Return of the Repressed curated by Toby Ziegler at an empty office block 10 Heddon Street. A show examining alienation and abstraction of the human experience in a climate of digital technology and AI.
The magnificent Babel by Cildo Meireles at Tate Modern. With slightly dalek vibes, this thrumming ‘tower of incomprehension’ relates to the biblical story of the Tower of Babel, a tower tall enough to reach the heavens. God was offended by this structure, and caused the builders to speak in different languages. No longer able to understand one another, they became divided and scattered across the earth, and so began all mankind’s conflicts. Here we are, punished for our curiosity, again. This work though is a joy.
Material Actors curated by binder of women at Hypha Gallery 3 / No. 1 Poultry, London explores the tipping point of formal representation into the theatrical and cinematic world of mimicry and artifice. The artists include Alice Browne, Charlie Franklin, Lauren Godfrey, Oona Grimes, Pia Pack, Milly Peck, Michelle Williams Gamaker and Laura White. Material process and the façade are key in many of the works that surprise and confound definition.
Quantum Storytelling and the Cosmic Oval – a fascinating discussion exploring how cosmic discoveries influence cultural narratives and the composing of histories. Physicist and author Janna Levin in conversation with writer Ella Finer to celebrate the launch of a new book commission The Cosmic Oval. Chaired by Lily Jencks, Keeper of Vision at The Cosmic House, with further insight from Tony Milligan, Research Fellow in the Philosophy of Ethics, Department of Theology and Religious Studies at King’s College London.
Quantum Untangled at The Science Gallery, London. I liked the simplicity of Alistair McClymont’s An Early Universe where wave patterns caused in water by low frequency sound vibrations are projected via a lens to reference quantum oscillations created when the universe was rapidly expanding after the big bang. Two large installations from Conrad Shawcross use the play of shadows to signify intangible forces of the universe. In Ringdown two caged spherical pendulums oscillate in violent motion to evoke the spiralling motion of gravitational waves in the moments after two black holes merge, a phase known as ‘ringdown.’ The artwork is probed with sensors to trace the magnetic field generated, which is displayed on a monitor. The Blind Proliferation explores the idea that our Universe is one of many co-existing ‘bubble universes’ formed in the period of rapid expansion at the beginning of time. Two ‘scientist’s offices sit either side of a structure casting complex shadows. In a nod to Plato, the scientists can only see the shadows from which they must determine their origin. There are slight differences between the two offices to suggest the idea of the multiverse where many worlds may exist with only slight variations. Daniela Brill Estrada & Monica C. LoCascio, Begriff des Körpers reflect on the nature of perception and shared understanding through their use of copper, a key material in quantum technologies, to create sculptures that describe the diagrammatic language of scientists when explaining spacetime and quantum phenomena.
It is always exciting to enter a truly dark space – NOWISWHENWEARE (The Stars) at the Rambert Dance Studios as part of the LFF Expanded program promised a breath-taking journey through light and sound when you would enter a meditative state and come face to face with your inner self. With nearly 4,000 reactive LED lights and a 496-channel soundscape it was an enjoyable experience but perhaps not quite as awe inspiring as hoped.
(S)low Tech AI by Studio Above & Below (Daria Jelonek and Perry-James Sugden) at Victoria and Albert Museum. ‘This installation examines artificial intelligence through the lens of geology. A sculptural interface of four rocks activates a slow, responsive AI system that reacts to touch with evolving sound and image. Each new rock arrangement adds a line to a growing digital landscape, echoing sedimentary layers shaped by collective interaction. The imagery is drawn from four geologically significant sites in Scotland, where ancient stone carvings show early examples of symbolic data recording. Using simple algorithms, the work invites reflection on AI as a slow, ethical, and materially-aware process.’ I couldn’t determine what changes were set in motion when the stones were moved, it does say it is a slow process so perhaps I shouldn’t have expected to notice the impact of my moving the stones and it is something that builds into the algorithm later. It was still quite mesmerising to watch.
Luca Bosani Unidentified Performing Objects at Victoria and Albert Museum
Loved these boots that look like they have been torn from the rock. Magnes might have felt a slight tug as the nails in his boots clung to the magnetite beneath his feet but imagine the weight, the feeling of increased gravity walking in boots of rock.
The Ripple Effect by Alicja Patanowski blending materials from one of the largest mining waste reservoirs in Europe with clay to create a tiled seating installation in the John Madejski Garden.
Screening as part of the London Film Festival, John Lilly and The Earth Coincidence Control Office directed by Michael Almereyda and Courtney Stephens, explores Lilly’s radical experiments with isolation tanks and LSD to study consciousness, as well as his theory that a hidden entity called the Earth Coincidence Control Office (E.C.C.O.) secretly influences human events. Despite his desire to communicate with cetaceans believing them to be intelligent conscious beings he exhibits a cold disconnect to their physical and emotional welfare. A lot of the footage is shocking to a contemporary audience in its cruelty but his research into human consciousness was trailblazing at the time and his conclusion that humans were at risk from an outside technology based intelligence does have some prescience considering current concerns over AI.
Artists First: Contemporary perspectives on portraiture at The National Portrait Gallery commissioned several artists to respond to an artwork of their choice. Charmaine Watkiss chose the portrait of Sir Hans Sloane, a botanist and collector who travelled to Jamaica in 1687 taking advantage of enslaved people’s indigenous knowledge of the location, properties and medicinal uses of local plants to boost his collection and furnish his publication. Charmaine’s beautifully crafted response To reimagine an African Queen shifts the dynamic to reflect the dissonance between these two human’s relationship to nature, one built on wisdom and respect and one which based on extraction and mastery.
Reading
The Stone Woman by A.S. Byatt. An evocative journey into becoming other.
Susan Eyre 