CSKX Projection Project
Slide projections onto the windows of CSKX Studios, 2000-2001
Introduction
The aim of the Projection Project is to create a permanent site for art at CSKX Studios, a building with limited space and no permanent exhibition area, but a building of unusual character located amidst the gas works in the ‘Victorian Quarter’ of Kings Cross. Where previously events have been organised occasionally by clearing out the studios for short periods of time, it is hoped the projecting of slides onto the studios first floor windows will allow a continual focus for art activities at CSKX. This, the initial stage of the project to begin in April 2000, will be the start of an ongoing event for as long as we are to remain on Goodsway. It is our aim to bring attention to this area where little has changed in over 100 years and is now on the point of major redevelopment.
Through the presentation of art works to be viewed from the outside of the building, created specifically for this site - the brief being for the artists to work directly in response to this part of Kings Cross and within the constraints of the windows, presenting work which responds to or involves itself in this location - we would hope to encourage visitors to the area who come specifically to see the projections, and for those who happen to pass in the course of their daily lives, that they may take a fresh look at this environment.
The location, architecture and character of CSKX has always influenced the working approach to the events at CSKX. Exhibitions have been curated and works made or presented in relation to the space. This event is no exception, it is the aim of the project to encourage artists to create or present work directly in response to the location, the site and surroundings and in response to the method of presentation - light projections in a public space.
The artists have been selected from a number of disciplines, not for the materials they use but for the approach they take to their work, how this lends itself, and their ability to be able to respond to this site.
Sponsored by:
Special thanks to: Paul Collett at Camden Council
Zero Goodsway
London NW1 1UR
T: 020 7833 3179
F: 020 7833 2912
E: info@cskx.org
Reg Charity no. 1067478
Gareth Jones
Although all completely different the first three artists share a similarity in a formalistic approach to the use of space: Dan Hays’ use of the grid and repeated patterns in his paintings and manipulated maps; Gareth Jones’ work includes the use of simple coloured and carefully constructed sculptures presented within and made in relation to interior space; and Flay Templer whose composed and manipulated photographs are often from deserted public spaces.
The first artist, Gareth Jones, approached the project by simplifying his working method to be able to deal with, what is to him, an alien method of working. Through returning to the basics; red, yellow, blue and green, Jones projects light onto four windows, flat light projections which achieve, in relation to the building, a sense of solid sculptural form.
Dan Hays
Although all completely different the first three artists share a similarity in a formalistic approach to the use of space: Dan Hays’ use of the grid and repeated patterns in his paintings and manipulated maps; Gareth Jones’ work includes the use of simple coloured and carefully constructed sculptures presented within and made in relation to interior space; and Flay Templer whose composed and manipulated photographs are often from deserted public spaces.
Dan Hays decided against using complex imagery, the details of which would be lost or difficult to comprehend, instead presenting photographs of windows containing net curtains. These windows, taken from flats where Dan once lived, each have their own slightly different charachters, wether it's the pattern of the curtain, an object in the window or the billowing of the curtain. Compositionally they fit well into their new window space (One visitor called from his mobile to ask where was Dan's work, and why were the projections not on, not realising that he was looking at the projections). They also bring a sense of home, of a social space alien to this street corner.
Flay Templar
Although all completely different the first three artists share a similarity in a formalistic approach to the use of space: Dan Hays’ use of the grid and repeated patterns in his paintings and manipulated maps; Gareth Jones’ work includes the use of simple coloured and carefully constructed sculptures presented within and made in relation to interior space; and Flay Templer whose composed and manipulated photographs are often from deserted public spaces.
Flay templar uses for the first time all eight of the studio windows, his aim being to reflect what is seen from the windows, 'projected mirrors', these views have been presented as negatives. Photographs taken in the day on black and white negative turn the day into night. They do give the sense of reflection but also suggest a vacuum, as if the studio has managed to suck the ghost from the gas towers.
Paul Hopton
Paul Hopton has infused 35mm slides with phonetic recordings from around CSKX Studios, these are to be played back through the vocal chords of the viewer.
Judith Samen
The colour slides show people of all ages engaging in seemingly everyday situations, in ordinary locations frozen in time. These slides are combined with images of strongly patterned material or fabric, sometimes folded to suggest an atmosphere of privacy and the personal in it's otherwise strict, abstract pattern. The relationship between the interior of the building and what is shown to the outside, echoes this sense of the individual buried in mundane, ordered repetition.
Sonja Alhäuser
Illustrations and sculptures explore via the cookbook, the bedroom and the large and small intestine an excessive and often confused eroticism. Roccoco cum comic book drawings, sacchrin to the point of sickness, celebrate excesses of pain and pleasure.
Bettina Hoffmann
Bettina presents an animated light projection, continuing with her recent explorations in slide projection and digital photo montage. Blurred shapes of yellow, orange, and red flicker on the windows. Some of their softer movements revive the house with a pulsating glow, while other more convlsive movemens appear to set the house on fire.
As with her photo montage works, the projection has subtle disturbing components, such as darker, indistinct shadows that seem to melt into each other, beating or jerking.
LEO
LEO has worked with shadows as an integral part of his work for the last six years, made often in response to specific environments. His intention is to turn the first floor of the studios into a puppet theatre. Using the slide projectors to cast light onto suspended mobile forms and thus projecting shadows onto the studio winddows, the studio after dark will become alive with sillhouettes of strange fairytale figures and abstract forms moving around the first floor. Seen from the street this should create an unusual vision and an extraordinary Christmas decoration for Kings Cross and all the family!
Minna L. Henriksson
Minna returns to her native region of Finland to capture a piece of Lapland to project onto the windows of CSKX. Across a deserted winter landscape, where the daylight is beginning to fade travels a lone cross country skier.
"The work is about contrast, two dramatically different environments; the spacious and fresh Northern Finland of my childhood and my memories of this, and the busy grey London, a city that has had a great influence on who I am as an artist and of what I dream."
Clare Spence
Clare makes use of the the shadows we cast to create, through projection, an improbable scene. The illusion of a traditional western bar brawl, with flying fists and ten gllon hats, intends to deceive the viewer momentarily before quickly revealing it's charlatan nature.
Matthew Bradshaw
"They're a pest. There are far too many of them, they leave their mess all over our city and in Trafalgar Square you just can't move for them. Some of them are well groomed but some are just filthy. On the whole I see them as vermin. They are good for a meal occasionally but I could definitely live without them. What I'm trying to say is I wish all those bloody humans would piss off!"
Ingrid Hölgrund
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CSKX Studios
Zero Goodsway
London NW1 1UR
T: 020 7833 3179
E: info@cskx.org
Reg Charity no. 1067478
