17 September – 29 October
Victoria Forrest, Tess Glanville, Taegon Kim, Brad Lochore, Haroon Mirza, Ally Wallace

The exhibition synthetic reality presents six artists who explore the architectural space of the gallery. The artists interpret and use the existing shape to manipulate and disrupt our spatial experience by investigating the changing manifestations that light has on this particular locality.

By working with or representing various forms of light, the gallery space is integral to the work. Whilst most of the artist’s use natural or artificial light to create paintings and installations and others play with the viewers perception by using materials and techniques so convincingly that the viewer questions the authenticity of the light.

The exhibition will encourage the viewer to approach the work from different perspectives, exploring the space and the relationship to the work. The relationships between the various pieces of work provoke a sense of illusion and deception raising questions of reality, artifice and value.

Victoria Forrest has produced three new works looking at the local landscape which are the results of her artist residency during May this year. Forrest creates paintings by literally drawing with light. Fluorescent light-tubes of differing sizes are treated as brushes with which she draws onto photographic film.

Tess Galnville’s investigations begin with the original architecture; replication and reduction of the structural elements, manifest themselves into an alternative apce mapped out with UV tape.

In Taegon Kim’s installations of space, he invites the viewer to an apparently virtual reality. The space is the context which he re-defines through a multitude of threads in horizontal and vertical beams.

Brad Lochore’s paintings of shadows lead the viewer into a false sense of reality. By painting shadows of objects that do not exist in reality, Lochore places the viewer within a hallucinatory visual field.

Haroon Mirza’s installation ruptures real-time-space by presenting the documentation of the production of the installation itself.

Ally Wallace uses paper and card to create structural intersections. The architectural surroundings are integral to the installation however futile or temporal that may be.