Brand new! Kolourz Basement Sets Vol. 3 Pt.1 Akai Professional MPD32// Ableton Live 8
👍I had a great time opening for @TheWerksOfficial Vs.@ZoogmaOfficial Tour @TerminalWest🚂Looking forward to being back there Dec.11 with Ilya Goldberg of Emancipator #tickets📲 www.terminalwestatl.com @locuspromo (at kolourzmusic.com)
In the Veneer series, Van Veluw introduces wood as a material in his work. Using different types of wood for different works, Van Veluw bends this relatively rigid material to his will by applying it to a replica of his face. This results in a myriad of cracks and grooves that testify to a notable tension of material and form. Included in this series are two sculptures that play with the viewer’s sense of scale. Veneer III has a height of 150 cm, whereas Veneer IV is merely 12 cm tall.
In the photographic versions of these sculptures, Van Veluw utilises photography’s ability to frame its subject matter and manipulate the viewer into thinking both objects are the same size. Veneer IV has a seemingly rough mosaic texture, yet in reality its surface is very smooth. The viewer, however, unaware of the modest size of the work, is unable to make this distinction.
Natural transfers: This series of work originates from the idea of transforming the face through the use of a material that is already present, rather than using an external element. Simply applying hair to the contours of the head transforms the portrait and the associations conjured up by the materials themselves. Hair becomes a strange and macabre material with a claustrophobic effect, rather than an aspect of human beauty.
For the Light series, Van Veluw covered his head with strips of light-generating foil. Photographed in total darkness, the highly radiant bright blue light produced by this material, allows it to stand out like an autonomous object. The features of Van Veluw’s face have disappeared, only its shape remains discernible through the mass of light strips. Light becomes form and exists independently from its base, the original subject. This ‘invisibility’ of the human subject informs the formal qualities of these images.
The Holy Table, the Sigil of Ameth and the Ensigns of Creation.
These sigils and tables are elements of the ceremonial systems known as Enochian Magic, derived from the work of scholar Dr. John Dee and seer Edward Kelley. Kelley and Dee claimed to collaboratively summon and observe archangels of God through a scrying stone on a prepared table. Through this method, Kelley and Dee were given the Holy Table (the Table of Covenant) and instructed to utilize the Sigil of Ameth (Sigillum Dei) with the scrying-stone. The angels then presented the seven Ensigns of Creation, complex talismants to be engraved on purified tin and arranged on the Holy Table to be used as a means of establishing “conciliation between the magician and the Heptarchic powers”.
More information on the history and use of these sigils can be found in the Enochian Magick Reference by Benjamin Rowe at the Hermetic Library website.
Internationally acclaimed artists Jane and Louise Wilson are known for their film and photographic works, often exploring states of consciousness and the experience of place. This summer a series of large-scale photographs from their ongoing investigation into the 1986 Chernobyl nuclear disaster premieres at the John Hansard Gallery. The exhibition also features a number of other works, many previously unseen in the UK.
Atomgrad (Nature Abhors a Vacuum), 2010 is a suite of eight photographic prints depicting deserted interiors from the abandoned town of Pripyat, situated within the 30km wide Exclusion Zone around the site of the disaster. Books remain on shelves and desks, bed frames remain intact and once-exquisite parquet flooring lies on the ground like rubble. A yardstick appears within each image and is a recurring motif throughout the exhibition. These objects of measurement – functional yet obsolete – act as a marker of scale and order, alluding to the tensions between association and analysis, memory and material fact.