Created with Sketch.
Created with Sketch.

LIVING MATTER: What’s Been Before, Remains to be Seen

Onomatopee 84

A new installation by David Osbaldeston

In a world where alternative constructions of meaning are seen to evolve through an increasingly pluralised, digitised and mediated present, a new installation by David Osbaldeston (UK) takes established modes of artistic practice as its point of departure. With subtle humour, the legacies of conceptualism, word games, repetition and image recognition are toyed with in a bid to highlight ways in which inherited forms of communication become re-authored. 

At first glance, the exhibition consists of a large-scale configuration of several items of locally sourced G-Plan and modern European furniture, arranged as an assemblage on a series of adapted, self-assembly IKEA table units that act as a plinth. Here, this arrangement is primarily intended as a ventriloquistic act or as an evocation of an unseen ghost – the ghost of a pre-existing, yet undefined, avant-garde.

Through a production process that runs counter to efficient modes of image production, five stop-motion animations have been produced from wood-cut prints made from old table tops, projected as integrated objects within and between elements of the assemblage itself. Each animation depicts black and white abstract geometrical shapes in constant spatial movement; each undertakes an exploration of perceptual and actual space. As these wood-derived animations are projected onto the furniture’s surface, the latter becomes a sculptural token of ‘reality’. Allied to the world of things this serves as a re-iteration of the perceived ‘shorthand’ for modernism, bringing inert material to life.

In the same way a sentence is brought to life from a sequence of words to create effective communication. A similar logic could be applied to the process of animation, where each labour intensive frame takes its rightful place in the unfolding of time to produce a narrative. This is especially relevant as each animation contains a text that awkwardly, yet relentlessly, punctuates and disrupts. The text is cryptic and directly addresses the relationship between reading, seeing, and doing, embodying a darkly humorous form of invocation that appears almost hypnotic by the removal of words from the grammar of everyday use.

In light of mercurial advances within communication technology, the combined temporal displacement of recognisable images, objects, things and words appear to take on greater significance; the stability of assumed pre-existing relationships are questioned, and their language begins to fall apart. Yet paradoxically, in acknowledgment of their continued residual power reproduced here – the languages of modernism, abstraction, and conceptualism – their successes or failures, afford a space to take a speculative glance into the folding of past into present, art into life and vice versa.

The exhibition will subsequently be accompanied by a publication designed by Will Holder including a new chapter of his ongoing series The Middle of Nowhere.

David Osbaldeston is represented by Matt’s Gallery, London. He has recently taken part in exhibitions at venues in the UK and internationally, including The Modern Institute, Glasgow; CCA, Glasgow; Focal Point Gallery, Southend-On-Sea; Rijksakademie Van Beeldende Kunsten Open Ateliers, Amsterdam; ICA, London; International Project Space, Birmingham, and EAST International, Norwich.

Parallel Production: SPACES IN BETWEEN: making the invisible visible

Inspired by David Osbaldeston, students from the St. Joost art academy in ‘s-Hertogenbosch (NL) will work on a project called SPACES IN BETWEEN: making the invisible visible. They will interrogate the relationships between language, text and image, and their removal from grammatical contexts, enabling a re-representation of new unseen relationships. Students will initially develop their works towards a self-organised exhibition at the academy, which will also include works by Osbaldeston. Thereafter, these works will move to Onomatopee for further development to produce a publication launched for the openings on May 25th, 15:00.


Onomatopee 84, David Osbaldeston, 2013

Inflection sandwich

€ 15

add to cart

Arranged as a palindrome where text and image relentlessly interweave, Inflection Sandwich is a looping sequence of co-ordinated drawings, sculpture, typography and animation.

In a world where constructions of meaning evolve through an increasingly pluralised, digitised and mediated present, David Osbaldeston takes established modes of artistic practice as a point of departure. With subtle humour, the legacies of conceptualism, word games, repetition and image recognition are toyed with in a bid to highlight ways in which inherited forms of communication become re-authored.

If Orwell said that language should be as clear as a pane of glass then Inflection Sandwich is the dirt on the window, taking pleasure in the interference between modes of perception, systems of communication, and the subsequent confusion that unfolds.

--- ---

Editors: David Osbaldeston and Will Holder
Graphic Design: Will Holder
Authors: Will Holder, Jonathan P. Watts and John Russel.

softcover, self-embossed by David Osbaldeston in chromolux (shiny silver) paper cover.
167 x 230 mm /  9 x 6.5 inch portrait
David Osbaldeston, Will Holder
Will Holder, Jonathan P. Watts, John Russel
Will Holder
Sewn and glued
Chromolux Magic Chrome 350 gr (cover) Munken Lynx, volume 1.13, white 130 gr K(32 pages), Lessebo Design, volume 1.3, white 200 gr (32 pages), Condat Silk, white 150 gr (24 pages), Curious Translucents Clear 180 gr (4 pages) Pop'Set 30% recycled light grey 170 gr (2 x 2 pages)
15 full-bleed full color images, 198 black/white images.
Unicum by Gianotten, Tilburg (NL)
text part section sewn with white binding thread, sheets of 2 pages printed on Curious Translucents clear glued on the first and the last page of the book block, the end papers of 2 x 2 pages will be glued on top of these sheets of Curious Translucents clear, cover drawn on, book cut to trimmed size, cover without creasing lines
more specs