Launch date: 11.11.11.
‘Beyond the Material World’
Our aim is to explore the art/science interface by participating in activities which aim to transform human understanding of contemporary theories of reality: at present these include quantum theory, parallel worlds, multiverse, higher dimensional space, string theory and cosmology.
The IAQA is a new contemporary art collective comprising of Jean Harlow (Founder Artist) and Diana Ali (Curator Artist) along with two US based quantum artists, Paula Hawkins and Solomon Kane. We will explore the idea of artistic visions which intuitively reach beyond this three-dimensional, material world to explore alternative possible realities through taking a positive approach. Through this collective we are pleased to announce our first exhibition at Bar Lane Gallery in York. The show will explore the statement ‘Seeing Beyond the Material World ’ and aims to be inspirational and encouraging others to reach out towards a more positive and sustainable future.
about the first exhibition
EXHIBITION SPACE & AUDIENCE PARTICIPATION:
We have now selected 17 artists to participate in our first exhibition 'Beyond the Material World'. The selected artists are required to build an interactive space around their work’s focus which will act as a ‘world’ in which the audience will participate and intervene with the art. Each artist’s world will connect to the next in the exhibition space. ‘Space’ can be interpreted physically as well as mentally. We also ask the artists to integrate audience participation within their work to demonstrate our belief in that this is a participatory universe: we actively create our own reality.
WORKS TO BE EXHIBITED:
Works featured will move away from dominating fixed theories and measures of conventional science. We are taking the view that art can be a viewed as a platform for multiple expressions of social ideals; where art and science co-exist harmoniously. The exhibition strives to have a holistic and egalitarian approach which asks all who participate how we can construct a new outcome or world view together. The works considered provides positive, awe inspiring, futures rather than promoting any apocalyptical visions.
80cm x 200cm Ink on MDF
Seeing the Unscene: Exploring the Inframince
The Inframince is a hidden dimension of space. It is the boundary line between the third spatial dimension and higher dimensions. Just as a line seen end on becomes a point, or the edge of an area can be seen as a line if viewed from the side- what we perceive as a volume will also have a boundary....somewhere. Harlow believes that space can physically open up and expand into a fourth dimension outside time. If we were able to enter this space we would effectively be observed to 'disappear' from this world, although from our new perspective we would be able to watch the world and space from which we originated. Due to the limitations of our senses, or perhaps our conditioned way of seeing and imagining the world, we are currently bound in the three dimensional scene.
Harlow's work reflects her belief that art can create a portal or doorway through which the mind can glimpse the essence of this higher dimensional reality just as Alice did, when she went through the Looking Glass. Harlow plays with the rules of visual perception, with positive and negative spaces while retaining elements of the real and working in a highly figurative style. She blurs the traditional boundaries between 2D and 3D depictions, handing the possibilties of the scene to the viewer, enabling the mind to envisage new realities beyond the constraints of this material world - seeing the unscene beyond.
Photography and Light.
Day dreaming, procrastinating, temporary disengagement, the classic 'break from reality'; one has a yearning to disassociate from the monotony of our habitual base doings. A momentary release is all that is needed. The Higher Self in the remoteness talks to the subconscious and tells us that a frivolous and meaningless task will not damage the actual reality that we live in but it will merely briefly dislodge. How does one do this? Multiple images from the everyday have been manipulated, distorted and misconstrued to represent the many ways in which we can have this escapism hence, the removal effect is reflected. One person's fantasy is never the same as another's but SPAWN asks the audience to change this. Where one thought is deemed to be the product of the owner, in turn it is to be appropriated into an uncontrolled outcome. After all, are we not spawning Parallel Universes constantly and together?
Wood, Mirror, LED, Objects, Rug. 88cm x 66cm x 32cm.
Once my art collage tutor told me that when you made a photographic slide, it should always look like a jewel; an intense burst of colour. I took this advice a step further and aim to make all my work applying the same theory. A little jewel: Something that you are inclined to investigate, move around, explore, are intrigued by, glows, is alluring.
Repeated Everyday is sited within a 1/12-scale antique Edwardian dolls house. The house was built by my parents and given to me twenty-two years ago on Christmas Day. I have played with it, loved it and intended at some point to decorate and furnish it throughout. With an urge to develop my Chamber installation work on various scales, I wanted to give the house a new identity. Gazing into a different world, we can forget momentarily, the clamour of everyday life.
I often take objects associated with play of function or movement and turn them into statuesque/still or semi monumental thing/forms of beauty. Something playful, sinister, surprising?
Length 2650mm Width (widest), 1050mm Height of sides 620mm
Mirror polished and perforated stainless steel, and side-emitting fibre optics with colour change.
The eye- / boat-shaped sculpture has a quiet exterior, but, on looking into it, curving, changing lines of light are reflected in the polished surfaces, and carried beyond the confines of the sculpture into infinity.
This piece questions our ever changing relationship with where our food comes from, and examines the increasing detachment from origins, and processes involved in creating the things we eat. The piece invites the audience to reconnect with their food, by planting
vegetable seeds to be sown in the gallery space, with a few digital surprises which question existing ethical and power structures within
the mass consumer food industry.
Size/Dimensions : VariableM Media : Projection, mirrors
My practice draws upon the subjective nature of perception and reality. It mainly evolves from a curiosity and fascination towards the manipulative yet transient essence of the ‘visible’, from which derives an organic relation to colors, forms and light. Questioning the world’s apparent factuality and the reality principle, I investigate forms of harmony and rupture; capturing and liberating, subtracting and building images and spaces onto each other. Continuously involved in doing and making, I allow the piece in it's becoming, in it's emergence. I construct sets and invite coincidence. What I create may as well be called the portraiture of a moment; A moment within the continuum of an ever-going piece.
2 x 1.5 m x 1m Beds of Flour
There is insignificant significance in one tiny grain of flour being representative of the earth as a speck in the entire universe or a spark of an idea in the human brain. Our minds are like multiverses, firing the energy of ideas. The grains in these parallel but independent flour ‘gardens’ are a place to capture those ideas, to share universes, to change or erase thoughts or start new chains of wisdom. There will be beginnings and there will be evolutions.
My work is influenced by Eastern Philosophies and is often playful. I sometimes work in ‘beds’ of flour to explore my interest in how words can change perspectives, become a belief, cover up or displace reality or reveal the truth.
The flour beds are evocative of Zen gardens and the use of the familiar staple of flour encourages consideration of how easily language can be ‘ingested’ like the ‘daily slice’. Ritualistic ‘raking’ of the delusions or truth of words can take place to facilitate openness to new ideas and ways of being that are without attachment to previous thoughts.
Using a viscous gloop substance artist HYPERLINK "http://www.adrianpritchard.com" Adrian Pritchard performs live process art as a means for the viewer to engage in the ever changing qualities of the work as it unfolds. For the International Association of Quantum Artists first group exhibition he shall set up the Installation titled "Superfluous."
Using a scaffolding tower and a spinning gloop filled tube. The gloop eventually continues to fall as strings which dry at different levels and crystallize like stalagmites.
Superfluous is part of a series of gloop installations which are self generating or moving under the pull of gravity. The force of gravity itself is all around us and its effects on matter are mysterious and relatively weak in comparison to the other forces like the electro magnetic and radioactive forces. These mysteries in science are intriguing and inspirational for the artist who sets up the apparatus to experiment with pure colour and viscous form in order to learn something about the nature of matter. Its self evolving patterns, its chaos and its order.
The work is still strongly connected to the artists primary medium of painting and has evolved out of pouring puddles of paint onto canvases and plinths.
AT THE EDGE of THE WORLD &
ENCOUNTERS at the EDGE of SIGHT
Ruth Eckland’s videos are non-narrative pieces in the sense of any linear storytelling. Rather, they have the form and structure of poetry or a music composition. They are metaphoric, almost dreams, with repetition used like a refrain or a chorus. Interpretation, including associative narrative, becomes a collaboration with the viewer. She defuses preconceptions that tired familiarity with the many genres of moving media can engender by bringing the sensibility of painting, altered photography or experimental film to the works. Her work is exhibited internationally.
Miniature model, fibre optic camera, monitor.
Currently, my work is informed by the rather complimentary notions of the imagination and of transcendence. I am interested in producing artwork that not only transports the viewer to more fantastical, exhilarating environments, but that allows me, in the process of creating it, to be constantly inhabiting a state of pure creativity - to push my imagination and my experience of the world to the absolute limit. I work primarily with miniature sculpture, and this work marks what I feel is the next stage of my practice; the addition of fibre optic camera into these models. As well as adding another element of audience interaction with the piece, it also changes their context as art objects - from static models to worlds that have to be navigated through and explored.
Mirror, mdf height: 1250 mm. width: 2150 mm depth: 1390 mm.
Krystyna Piliczewska is a visual artist born in Poland and based in Portsmouth, UK. She experiments with perception, space and optical illusion. Orbis 3 is one of her geometrical structures inspired by Michel Foucault’s theory of heterotopias. By using mirrors, Krystyna aims to create virtual space which connects different levels of reality and challenges the viewer, who becomes an integral part of the work. The symbolic circle questions our primary understanding of space and time, its limitation, relativism, continuation and repeatability.
Screen/wall size 300cms x 180cms, projection, Space: 4/5mtrs x 4/5mtrs, Computer, Kinect Sensor, Sound: Stereo speakers
Interactive digital 3 D world and sound. Exploring body-movement and digital virtual space. Fragmenting and changing perspective that the sense of body-movement is changed as it adjusts to the virtual world. The computer driven projection is space transformed by the experiencer’s movement. The interactive audio/visuals explore a non-cartesian space, to remap the bodies connection to the changing space that surrounds it.
Installation, consisting of wall-based photographs and text (200x76cm), a table, table-top freezer, ice-cubes, stools, magnifying light, pencils, paper.
The piece rests on the conceit of a domestic ice-tray becoming a museum of comets, those ice-based and not usually apocalyptic shooting stars. Magnified ice cube interiors are like celestial landscapes, and there is a range of associations, folklore and scientific detail around the astronomical trope of comets.
I am particularly interested in horizontal structure as opposed to vertical hierarchy. Comets appear to have a horizontal transit, but have astronomical vertical height. This installation plays with scale, and how ‘transcendent’ objects might be grasped and made immanent. The same impulse that has driven the search for a ‘god particle’.
H x 8ft, W x 8ft, L x 12ft
Willoughby’s work is an exploration into the universe via quantum physics, philosophy and esoteric themes. She uses humour to engage her audience that oscillates between the surreal, hyper-real and tongue in cheek styles. At times she takes on the persona of a mad scientist giving lectures and performing experiments. These act as metaphors that illuminate specific points - such as, the reality we perceive is nothing but a shared hallucination. The inspiration comes from dreams and psychedelic experiences as well as contemporary theories and discoveries within the realms of science including string theory, ‘m’ theory and quantum entanglement.
4 x free standing sculptures 2 foot x 3 foot, mixed media
The miniatures are sculptures, replicas of buildings that once stood along the East Coast of England. As a result of coastal erosion the land beneath the buildings has been sucked away undermining their structure and leading to their demise.
Through recreating these forgotten places and bringing them together in a collective; that which is forgotten is brought into a new domain. The miniatures’ presence together in a new space creates a world in which they can exist, a parallel universe of that which has been lost. The miniatures rest in an uneasy place between a longing for what is lost and their awkward state within the present.
Walter Benjamin described how contradictory elements could come together revealing a dialectical image in their wake, the miniatures and the space surrounding them can be read dialectically, with the polarities of past and present, the homely and the uncanny, the fashionable and the unfashionable. These polarities play themselves out within the sculptures creating a bridge between the now and what has gone before, thus presenting an image of the past in its uneasy place within the present.
Each figure head is approximately 1" tall, sculpted in polymer clay then painted in acrylics.
Rachel's professional practice consists of mainly; sculpture, set design, oil painting and photography. Often basing her designs on original folk and fairytales, she likes to find surprising often macabre, parallels between earlier times and now. Aiming to draw the viewers' attention to things that seem archaic but upon further inspection reveal glimpses of the world of contradictions we are part of.