The Incoherent Light

Marten Elder

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It might be easy to get caught up in the geometry of Marten Elder’s work; there is also something dazzling and even a little hallucinogenic about the persistent spill of artificial light. When overlaid on such banal architecture, however, it takes on a far more disturbing significance, presenting these otherwise inconspicuous urban sites as unstable zones bordering on the unreal. This interplay of perceptual experience with the functional aspects of our built environment suggests the fundamental entanglement of the social and psychological.

Peter Holzhauer

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In his photography Peter Holzhauer displays a scrupulous concern for surface and structure, but these qualities never seem like an end in themselves; rather they can be understood an on-going dialogue with the history of the medium and its potential for abstraction, which retains, in spite of everything, the sense of an encounter with a real object, however incomplete. That history, meaning in part the reductive formal strategies of modernism and its longing for essential states, is recast here as a certainty that must remain out of reach - order is just another artifact of representation.

Arturo Soto

"The notion a ‘view’ implies that the spectator is positioned in a specific way, resulting from a set of decisions about what to show and how it might be seen. This is necessarily tied to existing social and economic structures, just as, for example, the ordered spaces of classical perspective speak to at least the aspiration of a correspondingly mechanistic social order. But the picture can also be used against our assumptions, and this is true of Soto’s work, which consistently emphasises those aspects of a landscape we inhabit but don’t really see."

- from my latest feature for Paper Journal, Arturo Soto: Vanishing Point.