Our Student Ambassador, Xanthe Horner, writes on the Esoteric Arts Collective - a collaborative group of art students with an exhibition on the 11th November. Get a glimpse of what's on offer and go and see the show for yourselves!
The second coming of the Esoteric Arts Collective is an inter-disciplinary, inter-institutional collaboration featuring photography, performance, video, installation, painting and a plethora of investigational methodologies. Weaving a schizotypal narrative of contested terrains, Post Post Christmas showcases the rupture within our communicable, coherent world and the emerging discourses surrounding individuation, fragmentation and the re-evaluation of the possibilities for the role of the work of art.
The artists are from Goldsmiths University, the Slade School of Art, Westminster and Middlesex University and include Alice Howard, Isa Vento, Xanthe Horner, Jack Jubb, Rhona Foster, JK, Adam Frost, Joe Highton, Sophie Jeong, Chase Coley, Lewis Golland, Beatrice Lorigan, Halo Hughes, and Pascal Colman.
The exhibition unfolds like the cognitive mappings of a post-modern subjectivity, filtered through art to non-art, subconscious to computer screen. The wide-ranging modes of address culminate in a disparaging attack on the notion of consensus, articulated through a blistering diversity of means.
The work of JK explores and re-instigates the purposes of art providing the documentation and actualisation of the artist’s own inner processes, mediated through the performance ‘Art Education’. Pascal Coleman engages with the sustained relation of the subconscious to the external world which confronts the viewer as an experimental film accompanied by collaborative sound pieces.
The assimilation of the other is explored in the video installation work of Jack Jubb, posing the failure of technology’s promise of the escape from flesh, transporting the viewer into “a landscape of latex sex dolls, stained mascot costumes, dusty plastic and shattered concrete.” Chase Coley seeks a new way of revealing sound through bodily interaction with sonic sculptures of the artist’s creation, discovering alternative possibilities for extracting music from pre-existing structures.
Lewis Golland exposes the mechanical processes within the trivialities of human behaviour and consciousness. His compositions incorporate the patterns intrinsic in nature. The fragments of imagery stir emotional resonances in the invoking of memory.
The ephemeral, semiotic text and image pieces by Xanthe Horner speak of the transcendent incommunicable, the limitation of words in the attainment of meaning and the role of contingency. A combination of agencies is drawn upon, including poetic verse, automatic drawing and fine line illustration erring between the representational and the equivocal. Adam Frost’s emotive ink and pen illustrations mark the specificity of the experience of grief and isolation. Isa Vento’s digital photography is a presentation of the natura re-framed within the context of the gallery space. The holistic practices of living engage the viewer in questioning their relation to spirituality and how setting influences this dialectic.
The framed works by Joe Highton are uncanny reflections of the faces of advertising which emerge from the floor disarmingly. ‘Pig Women’ by Halo Hughes and Beatrice-Lily Lorigan is a film which invites the viewer to sit comfortably before the challenging subject matter as it unfolds into the cinematic setting. The film draws crucial links between the domestication and subjugation of animals and women; both of whom are cast as the monstrous and degraded forms of humanity in history and in culture, from the personification of pigs in Animal Farm to the systematic cruelty of the reality of mass-farming. ‘Pig Women’ breaks down the boundaries between humans and animals in positing the position of pigs and women as historically reified and other, whether domesticated within the confines of the home or forced to wallow in excrement.
The visceral, poetically charged painting of Alice Howard speaks of the organic and the earthly so much as the qualitative, presenting a unique language of abstraction which synthesises both Dadaist and eastern sensibility, utilising photomontage and found domestic materials, the accompanying photographic prints utilising and transposing this painterly aesthetic.
Characterised by an exploratory use of material and a shape-shifting creative enigma, the Post Post Christmas agenda is to subvert and sublimate, proposing contemporary modes of intersubjective experience and the emergent possibilities from the resulting rupture. The show will be taking place for one night at Stoke Newington Gallery on the 11th November between 6 and 10pm. Form an orderly queue to leave orientation at the door.