CHARLES DANBY & ROB SMITH

6 February 2014

Phase #1 is a twin set of independently generated photographs that have been colour separated and phased into single images. The photographs track the moon across its lunar cycle with the artists, irrespective of their relative geographic position to each other, each taking a full set of images. The moon is a shared observable object and the photographs mark and orientate the respective positions of the artists to each other through this. 


view lunar cycle


7th February 2014

8th February 2014

9th February 2014


10th February 2014


11th February 2014

12th February 2014

13th February 2014

14th February 2014

15th February 2014

16th February 2014

17th February 2014

18th February 2014


19th February 2014


20th February 2014


21st February 2104


22nd February 2014


23rd February 2014


24th February 2014


25th February 2014


26th February 2014


27th February 2014

28th February 2014


1st March 2014

2nd March 2014

3rd March 2014

4th March 2014

5th March 2014


Installation view of The Quarry at IMT Gallery in 2014


Installation view of The Quarry (Detail) at IMT Gallery in 2014

Conglomerate Leave Stone, 2013 (Detail)
C-print, acrylic, chalk, red chalk, wood, glass, pond water, haematite (118x 88x253cm)

Conglomerate Leave Stone, 2013 (Detail)
C-print, acrylic, chalk, red chalk, wood, glass, pond water, haematite (118x 88x253cm)

Conglomerate Leave Stone, 2013 (Detail)
C-print, acrylic, chalk, red chalk, wood, glass, pond water, haematite (118x 88x253cm)

Discovering Neptune, 2012
Anaglyph video (33mins 35secs, 16:9) 

THE QUARRY   

IMT Gallery, London
03 May -02 June 2013


PRESS RELEASE

York, Yorkshire, England. This is the quarry, our quarry, your quarry,


The Quarry is a continuing collaboration between Charles Danby and Rob Smith exploring the site of Robert Smithson’s artwork Chalk Mirror Displacement, which was produced for the ICA, London, exhibition When Attitudes Become Form in 1969. In 2011 Charles Danby and Rob Smith entered an archive in search of the site of an artwork. In 2012 they travelled to York, Yorkshire, England and they entered the quarry-


-We like you have travelled to York, to Yorkshire, to England. We like you have turned and returned. We like you make believe. We like you have seen chalk, have seen ourselves through the mirror, and have become a displacement within a cut landscape. We like you see the quarry, and we like you are quarry.
-


Room 1:
Quarry 1 (2013) is a room featuring works produced during Danby and Smith’s exploration of the quarry. These include a rotating projected panorama, mirror screens, split chalk and anaglyph video.

Room 2:
Quarry 2 (2013) exists within a room. It is three stacked tables that support, contain and display images and objects of and from the site of the quarry. Central to the work are a series of triangulated photographs – the artist, the object, the artist. These three part photographs, folded and internally mirrored, have been taken as the artists have navigated the quarry in search of its artwork. Viewed through glass they form a physical network of generative pathways, routes and intersections. Set across multiple layers or strata the work introduces material elements including haematite, red chalk and pond water.


GLOSSARY OF TERMS

Split chalk: 
Chalk is a porous material that takes in water from its environment. When this water freezes it causes the stone to fracture into two or more parts. A chalk rock is divided in two parts and the missing section of each is printed onto the corresponding cut surface of the other. Its image is seen in three dimensions.

Anaglyph: 
An image that embodies two perspectives in the single plane of its surface.

Triangulation:
A point in space, an object, can only be determined by its position relative to two other points in space. An object that is photographed at the same moment in time by each artist describes three respective points or positions. Two images of a photographed object are placed through red/cyan channels to establish a single anaglyph image.

Pond water: 
Darwin postulated that life evolved from the primordial water of shallow ponds. Such water is the lifeblood of succession and the generative growth of living systems. In remote areas of the quarry rivulets and fauna are to be found, with thickets, brush and saplings yielding to woodland trees and forest.

Succession: 
An ecological pathway through which ecosystems increase in complexity over time. The archetype describes pioneer species such as moss and lichen taking hold on bare rock, being overtaken by grasses, then shrubs and moving towards the climax community of the forest.

Red chalk: 
An early cretaceous limestone found in the east of England. Derived from haematite it is sanguine blood-like chalk used for underpainting and as a preferred drawing material of the Renaissance period.

Haematite: 
A naturally occurring anomaly in chalk strata. It is the mineral form of iron oxide occurring in faults and spaces left during the geological compression of shells, coccoliths. It emerges, excavated, in small meteorite-like crystalline lumps.

Mirror: 
The mirror holds the world to the power of two. The image becomes the product of itself. Artist2, Quarry2, Artwork2, Audience2,(York, Yorkshire, England)2. The mirror’s screen becomes the conduit between the two.



ALL: 
Quarry Triangulation, 2013
C-print (size variable)




                                    Installation view of Oxted England at Vanilla Galleries in 2012


Installation view of Oxted England at Vanilla Galleries in 2012

QUARRY

 

OXTED ENGLAND
2 Queens Leicester, 4 - 21 July 2012

A new collaboration between Charles Danby and Rob Smith exploring the site of Robert Smithson’s Chalk Mirror Displacement produced for When Attitudes Become Form, 1969 at the ICA London. ‘Like two men exploring Neptune’. 

The artists present a record of their findings when working with the site of Smithson’s only significant earthwork to be made in England through anaglyph film making, photography and installation, drawn in by the mystery surrounding the often misrepresented work.

HTTP://2QUEENS.COM/WHATS-ON/OXTED-ENGLAND/

 

WORKS:
Discovering Neptune (2012). 2 Channel Video, 34 mins
Moon Rock #1 (2012).  Anaglyph photograph in 3 parts
Orbital (2012). Chalk, Mirrors, single channel video
Dinosaur Triangulation (2012) c-print in 3 parts
Oxted Yorkshire (2012) live website image 



Installation view of Orbital (Detail) at Vanilla Galleries in 2012

Conglomerate Leave Stone, 2013 
C-print, acrylic, chalk, red chalk, wood, glass, pond water, haematite (118x 88x253cm)

Extract from Parallel Cipher, 2014, 16: 9 Video
ORBITAL 



Orbital 2012, single channel video, still frame motion panorama


Left - Right / Cyan - Red slides for Lost Quarry, 2014, twin slide projection onto perspex (size variable) 



Shown at Vane Gallery, Newcastle in the exhibition Eulogy curated by Zara Worth and LUME Projects (Craig Mayhew, David Meadows, Andrew Potts)

25 April – 17 May 2014


CDRS1 LIME KILN, 2014, Postcard

CDRS1


CDRS1 LIME KILN (2014) is a postcard that presents two separate images taken by the artists, colour separated, meshed and colour removed, of the disused and disintegrating limekilns on the northern side of Lindisfarne. The kilns are partially buried monuments to an intensive industrial working site that is far removed from the current Trust and Heritage narrative that attracts both residents and visitors to the island.

REPAIRED ROCKS

 

Repaired Rocks #1-8 (2014) are small-scale limestone rocks that were once part of the solid geological landmass of Lindisfarne. Dispersed and separated from their source through quarrying and processes of erosion these fragments are fractured, cracked, broken and split. The rocks have gone through a process of material reparation and have been repaired by the artists. Limestone from the dormant Lindisfarne quarry has been refined to form lime mortar which has been used to restore and repair the rocks to full forms. The reparation rocks while complete through their meticulous repair can only ever be speculations that testify to an idea of an original form.

 

 

Shown at: 


2014, RETURN TO SENDERBerwick Museum and Art Gallery (13-30 10.14) 


ABOUT CHARLES DANBY & ROB SMITH: 

Charles Danby and Rob Smith have been working collaboratively since 2011. Their work explores  site and land use in the transforming industrial landscape of the UK.  It employs a materially engaged use of video, photography and digital technologies alongside curatorial and archival approaches. The work presents a fluid 'distributed' idea of site that extends through time and location, proposing plural possibilities of new relationships between human/ non-human and site/non-site.



Charles Danby is an artist, writer and curator. He studied at the Slade School of Fine Art and is a Senior Lecturer at Northumbria University and member of NEUSCHLOSS, a group pursuing radical gestures in exhibition making that include Das Trauman at Baltic (2015) and The Place of Dead Rhoades (2015). He was editor of Tate Tanks Programme Notes (2012) for Tate, London. Recent curatorial projects include White Lies: Estelle Thomson at Oriel Sycharth (2015),  Animated Environments at Siobhan Davies Studios (2011-12), Epilogues: It Started With A Car Crash at IMT Gallery (2011), and Grand National - Art From Britain at Vestfossen Kunstlaboritorium, Norway (2010).

Rob Smith studied at the Royal Academy Schools and is an artist and independent researcher.  Alongside his individual research he is co-director, with artist Rebecca Birch, of Field Broadcast, a live broadcast platform that developed through their independent art practices. Recent Field Broadcast project partners include; LUX, Bournemouth University, Camden Arts Centre, Near Now at the Broadway Cinema,The National Trust, Office of Experiments, In Certain Places and Wysing Arts Centre. For more information visit http://fieldbroadcast.org


CONTACT US: CHARLIEROB@DANBYSMITH.COM

LINKS: www.charlesdanby.com / www.robsmith.me.uk






Repaired Rock #3 (2014), Lindisfarne Limestone, Lime Mortar


Repaired Rock #4 (2014), Lindisfarne Limestone, Lime Mortar


Repaired Rock #5 (2014), Lindisfarne Limestone,Lime Mortar


Repaired Rock #6 (2014), Lindisfarne Limestone, Lime Mortar
The Edge

 


Programme for the Revisiting the Quarry symposium at Yorkshire Sculpture Park, 2014 

Revisiting the Quarry: Excavation, Legacy, Return 
Approaches to the histories and sites of Land Art

PRESS RELEASE
Yorkshire Sculpture Park

15 May 2014


This one-day symposium, led by artists Charles Danby and Rob Smith, in conjunction with the exhibition Uncommon Ground: Land Art in Britain 1966-1979 (5 April - 15 June 2014), has been organised in collaboration with the Arts Council Collection, Northumbria University and Yorkshire Sculpture Park.


The symposium explores Land Art in relation to contemporary practices and historical precedents. It investigates the quarry as an active physical site for the production of new artworks and for the re-visiting of past works. Bringing together theoretical and practical positions in relation to chalk and limestone quarries, it focuses on approaches leading to the making of works, films, documents, field recordings and archives. 

In the anthropocene the quarry becomes a site of new relations, that connects historical, material, technological and social revision through changing land use and post-industrial / post-ecological occupation. The day will examine the status of these quarry sites, the removal of materials, their social and physical reparation and the negotiation of their borders and thresholds in physical, legal and artistic frameworks, through to what Robert Smithson characterised as ‘an expensive non-site’ in 1969, the moon, as a speculative quarry.

Speakers:
Joy Sleeman, Luke Bennett, Charles Danby & Rob Smith, Mark Peter Wright, Onya McCausland, Neal White (screening), Rob La Frenais

www.thequarry.org.uk

With thanks to Arts Council Collection, Yorkshire Sculpture Park and Northumbria University

Yorkshire Sculpture Park, West Bretton, Wakefield, WF4 4LG

www.ysp.co.uk


Joy Sleeman 
Senior Lecturer at Slade School of Art, University College London, and co-curator of Uncommon Ground: Land Art in Britain 1966-1979 
Title: Revisiting the Quarry in the ICE Age 
 Joy’s presentation examines a number of quarry locations used by artists including The Coldstones Cut, Yorkshire (Andrew Sabin) and Oxted Quarry, Surrey (Robert Smithson), and considers the significance of quarry sites in the history of Land Art, in relation to land reparation, and more widely in our experience of life in the Anthropocene.

http://www.ucl.ac.uk/slade/people/academic/profile/ASLEE78 


Luke Bennett 
Senior Lecturer in the Department of Built Environment at Sheffield Hallum University, and Project Director of ‘Owner and climber attitudes to recreational access to abandoned quarries’ 
Title: Encountering the Law and Land Art in Abandoned Quarries - Excavation, Legacy, Return 
Luke’s presentation explores the (feint) intertwined presence of law, proprietors and enthusiastic ‘re-energisers’ within abandoned quarries. It draws on his former experiences as an environmental lawyer advising on the decommissioning and safeguarding of extractive industry sites, and on his position as an academic and active researcher of enthusiast groups who seek access to derelict spaces for recreational, creative or illicit purposes.


http://www.shu.ac.uk/faculties/ds/built-environment/staff/luke-bennett.html http://www.lukebennett13.wordpress.com 


Charles Danby and Rob Smith 
Charles Danby: Artist, writer, curator & Senior Lecturer in Fine Art, Northumbria University. 
Rob Smith: Artist and co-director of Field Broadcast  
Title: The Quarry 
Charles and Rob’s presentation investigates the quarry as a site of active potential in relation to exploration, artwork production and the repositioning of art historical narratives. They describe a series of recent artworks produced across multiple quarry sites connected by a single geological chalk strata cutting through the East of England. And explain that these sites are also linked by the mis-archiving of a Robert Smithson artwork made in 1969, an art historical ambiguity hidden until corrected by art historian Joy Sleeman in 2010. 

http://www.charliedanby.co.uk/ 
http://robsmith.me.uk 
 http://fieldbroadcast.org 


Onya Maccausland 
Artist and co-researcher of Turning Landscape 
Title: Exposed 
Onya’s presentation describes a journey she made in search of chalk quarries around the M25. She outlines her relation to mineral extraction and quarrying through production and manufacture processes that focus on the materiality of colour (in the context of painting) by tracing its origins in the landscape. Her presentation was read alongside two films: Draft (2014) 1 minute 26 seconds and White Earth (Migration) (2010) 11 minutes. 

http://turninglandscape.com/ 


Mark Peter Wright 
Artist, Editor of Ear Room and researcher with CRIASP, London College of Communication 
Title: The un-site of sound: a continuous de-tour of place and specifics 

Mark’s presentation draws on a visit to the abandoned Swinescaif Quarry, Yorkshire in 2014. He recounts his experience, drawing on his physical and sonic investigation of the site to test fact and fiction, borders and thresholds, presence and simultaneity.

http://www.crisap.org/index.php?id=40,393,0,0,1,0 
http://mpwright.wordpress.com/ 

Neil White 
Artist and Associate Professor in Art and Media Practice at Bournemouth University, Director of Emerge - Experimental Media Research Group, and founder of the Office of Experiments 

http://www.nealwhite.org http://staffprofiles.bournemouth.ac.uk/display/whiten 

Rob Le Frenais 
Critic and curator at Art Catalyst, and founder of Performance Magazine
Title: Republic of the Moon. 
Quarrying the Moon Rob’s presentation discusses artworks on the Moon and anomalies of space law that are leading to the Moon's surface being a disputed territory. It draws on the announcement by the Chinese Government of its intention to industrially exploit resources on the Moon, and considers the Moon as a site for Land Art, a heritage site, and a future quarry. 

 http://www.artscatalyst.org



EVO, 2014, anaglyph photograph (size variable)

PHASE #1

Phase #1, 2014, 28 photographs, (each, Samsung Galaxy S4 screen size)



Installation view of The Quarry (Detail) at IMT Gallery in 2014


Quarry Ceiling Visualisation, 2014

QUARRY CEILING

A speculation through augmented technologies in which a virtual ceiling is mapped onto the material site of the quarry. Accessible on site through mobile and tablet devices the quarry transforms spatially through ceiling and enclosure. The work allows a speculative mapping of architectural structures as approaches to site activation, development and reparation.  

It conceives the quarry in a transforming industrial landscape, as a container and an attractor for diverse new narratives and material interventions, from lakes, to rock climbers, to new housing developments.

THE QUARRY TRAILER 




The Quarry Trailer, 2013 




Mirror Travel 2014 (edit), single channel videos for mobile devices

MIRROR TRAVEL 

A video camera moves through quarry site(s) and through a mirror. The camera and the mirror are actants as much as the artists, each leading and being lead, making actions and reacting to actions. 

            SELECTED WORKS 

* LIMELIGHT
PARALLEL CIPHER 
Repaired Rocks 
Possible Shelters 
Discovering Neptune 


 

Installation view of Conglomerate Leave Stone at Phoenix, 2014


Poster for Parallel Cipher at Northern Charter, 2016

FOREST

 

PARALLEL CIPHER  

 

Parallel Cipher (2014-16) is a twin screen back projected film in which the two artists move independently through a series of forests at night. They film and use the flash of a still camera to navigate and illuminate what is in front of them. When deployed the flash imprints an image of the immediate forest area on their retina and simultaneously fixes it as a single frame image on the film. As they move through multiple forest sites a layered plural forest emerges seen through single image fragments - of industrial and post industrial lumber, of literary and cinematic fiction, of folkloric ritual, of romantic enchantment. Their movement is determined by their unfolding encounter with the forest and the obstacles and routes it offers. Viewed across two screens the film presents the synchronised durational recording of artists' parallel movements through the unsighted forests, the audio track revealing their continual movement while from the blackness of the film the forest emerges and retreats in flashes of visibility. In parallel to the twin screens, light sensors react to the flashes in the films triggering flash units located in the space. These emit a sequence of flashes visible both within the immediate vicinity and externally to it, as light transmits through windows into the architectures beyond, the expanding forest encroaches on the city. 

 

 

Shown at: 

2016, Northern Charter, Newcastle (29-31.01.16) Press Release | Poster 

2015, PhotoSpace, Northumbria University 



Installation view of Parallel Cipher at Northern Charter, 2016. Two Channel video with live synchronised flash units.

Installation view of Parallel Cipher at Northern Charter, 2016. Two Channel video with live synchronised flash units.

2017

2017 - Postcards From The Anthropocene: Unsettling the Geopolitics of Representation, Adam House, Edinburgh University, School of Architecture and Landscape Architecture (Conference & Publication) 

2016

2016 - Polyspace, Newbridge Projects, Newcastle [Group Exhibition]

2016 - Limelight, Cardiff Contemporary Commission, 22 October - 19 November) [Exhibition]

2016 - Parallel Cipher, Northern Charter, Newcastle (29-31 January) [Exhibition]

2015

2015 - In Barry Bonds I See The Future, IMT Gallery, London (5 June - 2 July) [Exhibition]; 

2014

2014 - Return to Sender: An Installation at Berwick Museum and Art Gallery (13-30 October) [Group Exhibition]; 

2014 - Revisiting The Quarry: Excavation, Legacy, Return, hosted symposia at Yorkshire Sculpture Park, speakers: Joy Sleeman, Luke Bennett, Onya McCausland, Charles Danby and Rob Smith, Mark Peter Wright, Rob Le Frenais (15 May) [Symposium]

2014 - Site Exploration, Phoenix, Leicester (10-28 February) [Group Exhibition]

2013

2013 - The Quarry, IMT Gallery, London (3 May - 2 June) [Exhibition]

2012

2012 - Oxted England, Two Queens, Leicester (4-21 July) [Exhibition] 




Stills from Island Hyphen Perimeter Hypehn Carousel, 2015-16

Parallel Cipher Installed Northern Charter 2016 Street View.



Installation view of Oxted England 1969  at Vanilla Galleries in 2012


Installation view of Parallel Cipher at Northern Charter, 2016. Two Channel video with live synchronised flash units.


Installation view of Parallel Cipher at Northern Charter, 2016. Two Channel video with live synchronised flash units.


Limelight performance images from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 


Limelight performance images from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 
LIMELIGHT: AN ARCHIVE 

22 October - 19 November 2017

Castle Arcade, Cardiff
Tuesday - Saturday 11am-6pm / Sunday 11am-5pm 





Charles Danby & Rob Smith, Limelight Poster, IMT, 2016 

LIMELIGHT 

 

 

 

Limelight is a project developed by collaborative artists Rob Smith and Charles Danby, based in Newcastle. Supported by Peak/Copa and the Canal & River Trust, the project researches and responds to the working landscape of canals, quarries, tramways and kilns that serviced the lime industry of the rural Black Mountains which in turn fed the nation’s heavy industries that roared through South Wales.

 

 

 

For their Cardiff Contemporary commission, the artists will use digital means to bring reflections on this history to urban audiences by streaming a series of live illuminations at nightfall from Llangattock Limekilns in the heart of the Brecon Beacons National Park to the Welsh capital and online. The live stream event will present multiple perspectives of landscape, combining live with recorded footage, audio and performance in an immersive experience. The illuminations will be created with limelight itself, an intense, pure white light generated through heating quicklime at high temperature, used in the 19th century for land survey work and stage lighting. Each live broadcast will last as long as it takes for the chemical reaction to be exhausted.

 

Broadcast Performance Event: Saturday 22nd October, 6-7pm

Charles Danby & Rob Smith with Ed Lawrenson, Georgia Bates and PEAK 

 

Talk: Sunday 23rd October, 2-3pm

Charles Danby, Rob Smith, Ed Lawenson, Georgia Bates 

 

Archive: 22 October - 19 November  

Castle Arcade, Cardiff  

 

 

ARTIST INFORMATION

Artists Rob Smith and Charles Danby are based in Newcastle and have collaborated since 2011. Rob brings a materially engaged approach to digital technologies, exploring the possibilities of live and networked art such as Radiometer (2011) and Field Broadcast – a live streaming project that enables artists to make live broadcasts from remote sites. Charles brings wide academic and curatorial experience challenging conventional approaches to archives and British art histories including projects such as Grand National – Art from Britain, Vestfossen, Norway (2010), Animated Environments, Siobhan Davies Studios, London (2011-12) and Das Traumann at Baltic (2015). He is a senior lecturer at NORTHUMBRIA UNIVERSITY.

In 2014 Smith and Danby organised Revisiting the Quarry, a symposium in conjunction with the Hayward exhibition Uncommon Ground: Land Art in Britain 1966-79 at Yorkshire Sculpture Park. In 2014 the artists were commissioned as part of Shelter, a project on Lindisfarne, Northumberland. Taking limestone from a quarry on the island they made a small scale lime kiln and produced quicklime that was subsequently used to create new sculptures called Repaired Rocks. These works repaired limestone rocks from the quarry, extending themes of industrial process within the landscape and the nature of post-industrial reparation to a site.
www.danbysmith.com

 

 

PROJECT INFORMATION

Peak/Copa creates opportunities for contemporary art in the Black Mountains for the benefit of the region’s artists, communities and visitors. The inspiration for Peak lies in an enthusiasm for the exceptional artists working in the Black Mountains and the distinctive, natural landscape of the region as a unique resource. Peak works in partnership with environmental and heritage organisations such as Canal & River Trust, The Landmark Trust and the Brecon Beacons National Park Authority. These organisations share Peak’s vision for bringing artists, sites and audiences together. Peak/Copa is an Arts Alive Wales initiative. 

WWW.PEAKART.ORG.UK  

 

Cardiff Contemporary is a citywide festival of contemporary arts, showcasing a programme of exhibitions, events and activities over five weeks.  20 October – 19 November.

WWW.CARDIFFCONTEMPORARY.CO.UK

 

Limelight is part of the Canal & River Trust 2016 Arts on the Waterways programme. The programme offers time and space to artists, producers and curators to make new work and engage new audiences for both the waterways and the arts.

WWW.CANALRIVERTRUST.ORG.UK

 

Peak is one of five projects currently supported by the Digital Innovation Fund for the Arts in Wales, a strategic partnership between ARTS COUNCIL OF WALES and NESTA. The partnership is helping arts organisations in Wales to experiment with digital technology as a tool to reach new audiences. Peak is working in collaboration withBBC CYMRU WALES to research the use of live-streaming digital technology in site-specific locations in the Brecon Beacons National Park.

WWW.INNOVATION.ARTS.WALES



Limelight performance images from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 



Limelight illumination at Llangattock Lime Kiln, Wales 2016



Installation view of Limelight in the exhibition Polyspace at Newbridge Projects, 2016



Installation view of Limelight  in the exhibition Polyspace at Newbridge Projects, 2016


LIMELIGHT

Limelight is a generative artwork taking many forms, scales, speeds and positions.

 

 

CARDIFF CONTEMPORARY & LLANGATTOCK LIME KILN

22 October – 19 November 2016

 

Limelight is an event in which quicklime is heated to a temperature in-excess-of 2000ºc to the point where it emits an intense white light creating an illumination. A limelight illumination at a restored lime kiln in the Welsh National Park of the Black Mountains was broadcast and set a live timeframe for a series of performed actions in Cardiff. This entangled the two locations within one event structure, distributing and multiplying the images and forms of material lime, weaving its geological, chemical, industrial and optical properties through each of the sites.  

 

 

POLYSPACE, NEWBRIDGE PROJECTS, NEWCASTLE

11 November – 17 December 2016

 

Limelight extracts and reformulates the data stream of a videoed performance - of a limelight illumination - to extend or contract the event to a new timeframe, in this case the length of an exhibition across 37 days.  Each frame of the illumination played and became visible at an interval of 70451 milliseconds (just over a minute), projected from a chalk circle onto a lime washed wall, these image frames appeared momentarily and fleetingly as intensive image flashes. Across the duration of the exhibition, the entire video played once and was timecoded from the start of the original event.

 





Limelight performance images from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 


Limelight performance images from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 




Limelight Event Score 


Limelight light apparatus, 2016


Limelight performance images from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 


Limelight rehearsal from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 


Limelight rehearsal from Cardiff Contemporary, 2016, with performers Ed Lawrenson and Georgia Bates 


Limelight Event Score, 2016 (Extract)




Limelight Illumination, Llangattock Kiln, 2016 

LIMELIGHT

 

Limelight is an aggregate artwork taking multiple forms, scales, speeds and positions.

 

 

 

CARDIFF CONTEMPORARY & LLANGATTOCK LIME KILN

22 October – 19 November 2016

 

Limelight is an event in which quicklime is heated to a temperature in-excess-of 2000ºc to the point where it emits an intense white light creating an illumination. A limelight illumination at a restored lime kiln in the Welsh National Park of the Black Mountains was broadcast and set a live timeframe for a series of performed actions in Cardiff. This entangled the two locations within one event structure, distributing and multiplying the images and forms of material lime, weaving its geological, chemical, industrial and optical properties through each of the sites.  

 

 

 

POLYSPACE, NEWBRIDGE PROJECTS, NEWCASTLE

11 November – 17 December 2016

 

Limelight extracts and reformulates the data stream of a videoed performance - of a limelight illumination - to extend or contract the event to a new timeframe, in this case the length of an exhibition across 37 days.  Each frame of the illumination played and became visible at an interval of 70451 milliseconds (just over a minute), projected from a chalk circle onto a lime washed wall, these image frames appeared momentarily and fleetingly as intensive image flashes. Across the duration of the exhibition, the entire video played once and was timecoded from the start of the original event.

 

Each video data frame was uploaded from the gallery to a remote server.  A second computer in the gallery in turn downloaded this data for projection. A microphone attached to a piece of limestone from a quarry site close to the site of the original performance picked up and played through a speaker the ‘humming’ sound of the uploading server. A poster further re-framed the sites of event and exhibition.



Video still from Limelight, 2016 


Limelight, 2016, A0 Poster 


Installation view of Limelight in the exhibition Polyspace at Newbridge Projects, 2016