What happens when that eye leans ever closer into the screen and begins to watch and learn from the digital? All bets are off. What we see can have been reconfigured and reimagined in any number of ways. There is no need for truth, logic or limits.
As contemporary art history unfolds in real-time, the story of British abstraction is still being told. Its untapped richness is traceable through ‘known unknowns’ such as Hopkins, whose work links the post-war period with the present day.
The body is not a closed system. It is porous, soft, and yielding—subject to forces greater than itself. Kate Burling’s paintings linger on this uneasy truth.
By focusing on taxidermied specimens and natural history collections, Fairnington transforms hyperreal detail into a meditation on imperfection, time, and the ways we attempt to preserve life.
Against a backdrop of the new digital ®evolution and approaching ninety years since the publication of Walter Benjamin’s seminal essay ‘The Work of Art in the Age of Mechanical Reproduction’ we present an exhibition tracing the legacy of Benjamin’s prophetic work, and reconsider it in the present moment.
