Credit Arthouse1

The three participating artists’ delicate works exert a fascinating effect upon the gallery space that hosts them, lifting it of any material weight or sense of solidity, collaborating in a tender crime of ethereality in which a viewer can’t help but become enmeshed. A sense of being grounded is gently ceded in favour of a keen drift, a frolicsome flotation.

Credit Arthouse1

Hanna ten Doornkaat’s wooden block pieces adorn the walls like primal communications that flirt just at the edge of definition (unfolding inscriptions of a secret language that spiritedly elude comprehension or garbled broadcast signals), the physical bodies and marks of which speak and reveal sudden confessions and evasions, admissions and erasures, lights and shadows.

Annamarie Dzendrowskyj’s spectral, gauzy studies (which find their apotheosis in her Between the Space I-IV series) tease through a haze of awakening consciousness, caught at the intersection between memory and imagination, a skein of half-remembered landscapes and states of feeling existing with tenuous grace and fragility, forever at the precipice of being lost and overridden.

Sinta Werner’s architectural “interventions”(both on-site and in a collection of manipulated photos) playfully and wilfully exploit perspective and assumption of the knowable dimensions of a space. Both her Broken Line (a row of tiny mirrors that runs the floor length of the larger room of the gallery, creating a decorative, transitory  border that invitingly diverts attention to new spatial encounters) to her Echoes I-XIV, a series of 14 “false” painted shadows inset into the corners and crooks of the walls so as to create a double exposure (and a true trick to perception), drag an immobile gallery space from its usual formal reserve into active engagement-it is now a subject, a relation.

Credit Arthouse1

Her photo “collages” stage 3-D projections onto staid images of public and private spaces, evoking unforeseen dimensions, connections and covert angles, directing the senses to multivalent possibilities. In the nurturing realm of Arthouse1, far from an inhospitably blunt, uncultivated and obvious external world, these pieces are allowed full expression and flourish to contemplate lines not so well-drawn and boundaries diaphanously dissolved-an exaltation of the substantial insubstantial. [Un]Seen continues through 3 August


Credit Arthouse1 

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