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Cell Project Space: Moravia : Andrew Child • Ryan Mosley • Sam Plagerson - 29 Nov 2008 to 11 Jan 2009

Current Exhibition

29 Nov 2008 to 11 Jan 2009
Open Fri.-Sun. 12-6pm or by appointment
Private View 28th November 2008 6.30-9.30pm
Cell Project Space
258 Cambridge Heath Road
E2 9DA
United Kingdom
p: + 44 (0) 20 72413600
f: + 44 (0) 20 72413600

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Artists in this exhibition: Andrew Child, Ryan Mosley, Sam Plagerson

Andrew Child • Ryan Mosley • Sam Plagerson

Private View 28th November 2008 6.30-9.30pm
29th November 2008-11th January 2009
Open Friday-Sunday 12-6pm.
Seasonal closure from December 22nd 2008 - January 8th 2009

Moravia is in the imagination, now non existent but was actually somewhere between the Austrian border and Poland. A celebrated region which drew a romantic fascination for 19th century intellectuals. Its a fictional birth place of untraditional lifestyles of artists, writers, musicians, and philosophers, carrying with it the myth of arcane enlightenment associated with more unorthodox and anti-establishment viewpoints. The notoriety was mythical rather than actual, however the fictitious literary Bohemian is still present within the subconscious of artists today. This exhibition considers the physical layering of ideas to represent new histories and narratives. Artist/ gypsy, drifter or neo hippy using piracy as a strategy to remake and recreate 'Moravia'

Andrew Child recodes images from contemporary culture. He reduces them down to their component parts, meticulously rebuilding these fragments and slotting together the linear and tonal edges with a reassuring precision, finding shapes and characters, which fit together to create an alternative logic. Images seem determined to undermine themselves as if bent on creating some altered narrative or allusion in the exploration of an alternative reading. By collaging found stylistic images Child engages with the modernist ploys that occur within 'Cubism' and 'Surrealism' although placed in a contemporary context, the sheen of the re painted photograph retains its aura of glamour, whilst simultaneously his piecing together of them operates as an exotic 'artefact' or a kaleidoscopic viewpoint.
Andrew Child was included in 'The Tract House'. Contemporary Museum in Baltimore, curated by Lisa Anne Auerbach, in 2008. Selected group exhibitions include 'Shredder', Galerie Martin van Zomeren, Amsterdam, NL, 'Kjarvalsstadir', Reykjavik Museum, Iceland and 'Group Show', Vilma Gold, London.

Hiding behind grotesque masks and black-hatted portraits of gentlemen the disfigurement of Ryan Mosley's figures appear to have succumb to the sophisticated pipe smoke wafting throughout his hallucinatory scenarios. Utilising the tinted hues of 'Ensor'and 'Klimt' his works characterises the gentle light of early nineteenth century parlours whilst his figures grotesquely contort and perform for our entertainment neither macabre nor comedic they hover somewhere between 'the interpretation of dreams' and the harsh reality of a Victorian curiosity. Mosley's masked figures have been described as endeavouring to show the multiple aspects of the subject by literally including them all in the same head. He posits a hyper-figurative psycho-cubism, a new way of picturing the complexity that lies at the heart of the human psyche.
Ryan Mosley graduated from the RCA Painting School in 2007. Group exhibitions in 2008 include Summer School, Ibid, Cory Michael Projects, and Wassail, Cell Project Space. He has had a solo exhibition 'Census' at Engholm Engelhorn, Vienna. and is scheduled for inclusion in ‘Newspeak’ at The Saatchi Gallery in 2009.

In 'Smoking is indispensable if one has nothing to kiss' Sam Plagerson explores the drive to collect and the compensatory nature of collecting. By appropriating this psychological encounter with the reproduction of the portrait bust of Sigmund Freud the repetition of this prolific image compounds but also negates the authority of the subject matter. The soft pastel tones in glossy porcelain render the portrait head into a grotesque and hideous artefact. Plagerson's work explores and questions reproduction and the psyche of contemporary imaging in a post industrialised society.
Sam Plagerson graduated from RCA Sculpture School in June this year. Since his graduation he has been included in 100 years, 100 artists, 100 works of art, Art on the Underground, Rochelle School in October this year to be followed by 'Pop will eat itself' Piccadilly Circus Underground Station, Art on the Underground, curated by Sally Shaw in November 2008.

Cooper Gallery
Exhibitions Department
Duncan of Jordanstone College of Art & Design,
13 Perth Road,
Dundee DD1 4HT,
01382 385330


Jonathan Baldock • Michael Bell-Smith • Rick Buckley • Aisling Hedgecock • Ian Monroe • Takeshi Murata • Milika Muritu • Angelo Plessas • Richard Priestley • Rafaël Rozendaal

Private View Friday 14 November 2008 6-8pm
15th November –13th December
Mon - Fri: 9.30am - 5pm, Sat: 10.30am - 4.30pm

The title of the exhibition 'Straylight Cavern' is derived from cyberpunk author and sci-fi visionary William Gibson's Villa Straylight in his novel 'Neuromancer'. The Villa Straylight is a cyber-chateau of sorts, inhabited by cyber-diegheties where anything and everything is possible. Straylight Cavern offers the viewer a realm of possible other worlds and dimensions, inspired by memories of Villa Straylight and it’s inhabitants, but goes on to refer to other science fictional situations where mankind has colonised natural rock or ice formations in order to survive, such as the rebel bunker, ‘Echo Base’, on the ice planet, ‘Hoth’, in Steven Spielberg's 'The Empire Strikes Back', or the androids cave in Michael Anderson's film 'Logan's Run'. From the exterior, only a streamline, almost computer generated graphic interpretation of glacial or rock formation is visible. The interior of the cavern encounters the amalgamation and communion of various artists works and interventions.
Straylight Cavern is a continuum of Richard Priestley’s curatorial approach to his art practice in which he provides the construct of the scenario in which the artists he has selected are to be shown. This approach invites the participating artists to succumb to the effects of the ambiance, politic and genre of the structure upon their work within the intensity of the installation and its interior. Blurring the boundaries of the artwork this approach questions authorship and the recontextualisation of individual works. The structures borrow from set design techniques and, in this instance, is handled by the imagination of Priestley’s ‘second life’ avatar. Portrayed as his adolescent counterpart the overall exhibition becomes an autobiographical intervention.

The genre and subject matter have been selected due to their potential as a vehicle for this collaborative work. A selection of artists invited to participate practice within the field of video and animation, which, in the context of the installation, offer portals into other worlds and dimensions being monitored from the caverns control centre. Milika Muritu will design the construct for the interior of the cavern where two and three-dimensional works are personified within the rock and ice structure of the caverns interior, and imply a sample collection and display process on the part of the fictional inhabitants of the cavern.

The cavern will exhibit a selection of artists, Murata, Bell-Smith, Plessas and Rozendaal who are part of a new generation of artists who use the techniques, skills and aesthetics of the internet and its digital transformation.

Takeshi Murata’s landscapes float and metamorphosise slipping in and out of perception. His colour saturated animations alternate and cascade into melting and condensing pixels. The screen constantly shifts from fixed form to fluid movement, in hallucinatory manipulations that are digitally organic drawing the viewer in and out of Murata’s psychedelic distortion.
Takeshi Murata born in Japan lives and works in New York. Solo exhibitions include The Reliance Gallery, London 2007, Gallery.Sora, Tokyo, Japan 2007 Hirschhorn Museum and Sculpture Garden,Washington DC 2007. Group Exhibitions and Screenings include ‘Solar Set’, Foxy Productions 2007, ‘Take It to the Net’, Vilma Gold, London (2006); ‘Cosmic Wonder’, Yerba Buena Center for the Arts, San Francisco, CA 2006; ‘Deconstruction’, Gladstone Gallery, New York, NYC 2006

Michael Bell-Smith operates in the gaps between animation and painting, utilizing short digital loops to interrogate art-historical, cultural and technological forms. For the work in Straylight Cavern, Bell-Smith portrays the familiar landscapes of the city, figures reflecting an oblique social commentary, however, Bell-Smith’s main concerns are with the language of representation amplified by digital technology and restrained animation. His work lightly depicts a journey on the edge of abstraction and figuration, creating an impression of inter-galactic travel, skimming over the surface of the earth or soaring over electrified city-scapes
Michael Bell Smith lives and works in New York City. Selected exhibitions in 2008 include Liverpool Biennial, The 5th Seoul International Media Biennale and The New Museum, New York, Musee d'Art Moderne de la Ville de Paris and MoMA, New York.and a solo at Foxy Productions NYC.

Angelo Plessas and Rafaël Rozendaal both work within the realms of interactive media. Their work exists live on the internet, but also has infinite applications to be displayed on screens and projected into the real world.

Angelo Plessas creates simple interactive animated drawings that exist on the internet in their own right. His practice negates the pumped up hyperactivity of today’s computer animated games technology to offer a more fragmented abstract experience. Utilizing simple shape and subtle electronic sound to represent landscape and characters offers a more contemplative play. Inspired by Steven Lisberger’s sci-fi movie ‘Tron’ Plessas exhibits an animated version of his interactive work, which also exists in cyber-space.
Plessas lives and works in Athens. He has had solo exhibitions at ‘Sketch’ 2005 , Yama project, Istanbul, Turkey 2007 and has been included in Valencia Biennial 3, 2005 and ‘In Present Tense: Young Greek Artists’, National Museum of Contemporary Art, Athens. Earlier this year he was awarded a ‘Rhizome commission’ for ‘New Museum’, NYC.

Rafaël Rozendaal refers to the computer as a space, a world, a landscape. He describes the virtual window of a browser being richer than a window in the real world. Working with transient and disposable media reminiscent of Warhol’s consumable art practice Rozendaal seeks inspiration from art movements of the past such as Surrealism and Pop deriving images and flat colour from retro comic books from the 60s and 70s.
Rozendaal lives and works between Amsterdam, Berlin and Tokyo. He has had solo exhibitions at Sketch, London 2005 and Stedelijk Museum in Amsterdam in 2006. Group shows include, The Whitney Biennial 2002, NYC, Neen Demo, Benaki Museum, Athens 2006, and Existential Computing, 2007 at The Hayward Gallery, London. Last year he was awarded a ‘Rhizome commission’ for ‘New Museum’, NYC.

Ian Monroe's cavernous cyberspace is created by his rigorous compliance with the physical laws of linear perspective and logical dimension. Monroe presents architectonic space devoid of people depicting post-human wastelands and futuristic utopias, both inviting and disorienting. Using his distinctive crisp vinyl laminate for Straylight Cavern Monroe will intervene with the interior space, working directly onto the cavern walls manipulating the interface to produce a built virtual environment.
Ian Monroe born in Cooperstown USA lives and works in London. He has had solo exhibitions at Haunch of Venison in 2007 and 2005 in Zurich and London. Selected group shows include ‘Teaching An Old Dog New Tricks’ Den frie udstilling, Copenhagen 2008, ‘Existencias’ Musac Museo de Arte Contemporáneo de Castilla y León, Spain 2007 and ‘Slider’, Cell Project Space, London 2006. Monroe’s work is held in countless international collections including Saatchi Gallery and Frank Cohen.

Jonathan Baldock makes theatrical and darkly humorous sculptural busts, which are often influenced by traditions of folklore and ritual. At times sinister and unattractive, and often socially scathing, Baldock’s heads look at the nature of beauty and celebrity memorialising his fictional deities with elaborate hair styles and costumes. Choosing sour dough for his modeling material he mocks the more established classical ideals of portraiture and takes on neglected notions associated with fantasy and myth.
Jonathan Baldock graduated from the RCA in 2005. In his graduation year he was selected for SVO5 at Studio Voltaire. Since then he has exhibited at Cell Project Space in ‘Wassail’2007 and ‘The Brotherhood of Subterranean’ selected by Ben Judd for ‘Kunstbunker’,Nuremberg. Baldock has been selected for ‘Newspeak British Art Now’ at the Saatchi Gallery, London to be scheduled for 2009. Baldock lives and works in London.

Rick Buckley’s smokey distopic works in black & white digital film explores the vanishing line between reality and fiction. He refers to an incidental virtual-ness where the construct of an environment occurs through his manipulation of a given view point. Buckley transforms everyday objects into towering monoliths or disaster landscapes panning his camera closely across gem-stones and navigating through labyrinths of carefully constructed material. It’s fragility emphasised by its transformation from micro to monumental.
Rick Buckley born in UK lives and works in Berlin. He has had exhibitions at Alan Cristea and Union Gallery, London. Major presentations include ‘Drawn by Reality-Encapsulated in Life’ Wood Street Gallery, Pittsburgh, USA in 2004 and ‘Zeichnungen 15 Künstler’, Galerie Martin Kudlek, Cologne in 2000.

Aisling Hedgecock’s sculpture is produced by simulating the building techniques of bacterial growth or accelerated clustering. Using micro poly balls as her material these forms take on the appearance of crystalline coral formations. However due to the nature of the material the effect is synthetic and toxic in its nature utilising the day glow colour of early science-fiction B movies or fantasy planet landscapes. As particles are the chosen material Hedgecock pushes the boundaries of the object in space. Her interest lies in edges not being defined but only hovering within infinity.
Graduating from the RCA Sculpture School in 2006 Hedgecock has just completed a two year Sainsbury Scholarship at The British School In Rome. <

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