Mark Titchner works in a variety of media employing a hybrid aesthetic style that openly borrows from the utopianism of Op art and Bauhaus and locates it alongside civic design and the modularity of G-plan, offering a language that is visually engaging yet emotionally null. His work explores the inevitable degradation of idealistic structures when exposed and applied to the world and their transformation into a psychological back drop for their times.
The exhibition includes a 30ft airbrushed wall drawing reminiscent of early 3D-computer rendering and depictions of the molecular world, which sits sculpturally upon the gallery’s white walls. A modular concrete floor piece marries Kenneth Noland’s chevron device with the humble garden patio and polystyrene wall reliefs employ the motifs of Albers and Nicholson using the conventions of the urban planner.
Also included are two sculptures, which employ as a central theme marginalised areas of scientific research. One employs the stroboscopic light effects which Brion Gysin and Ian Sommerville investigated with the Dreamachine, a device that by stimulating the natural functions of the brain could induce a drugless, transcendental high. The other uses electronic sound to vibrate liquid producing visual waveforms, paralleling the experiments of Swiss natural scientist Hans Jenny which emphasised the synaesthetic nature of experience. These furniture-like devices combine a sculptural formalism with a utilitarian functionality that is instilled with a failed possibility.
Mark Titchner’s work has recently been included in Painting Lab at the Entwistle Gallery, London, True Science at the KX Gallery, Hamburg and Surfacing, Contemporary Drawing at the ICA, London.
For further information or images please contact Martin Rasmussen: +44 (0)20 7729 9888 or: firstname.lastname@example.org
18 Feb – 03 Mar 2001