INTANGIBLE SPACES
Gili Lavy & Eigil Nordstrøm

08.12.17 - 16.12.17

 

Full Press Release HERE


Intangible Spaces was a two-part exhibition by FieldWorks Gallery and Unit G Gallery featuring Israeli artist Gili Lavy(Fieldworks) and Norwegian painter Eigil Nordstrøm (Unit G) They both work from East London: Nordstrøm has his studio at the Bow Arts Trust, and Lavy is the artist in residence of the Florence Trust. Intervening, intruding and interrupting, Gili Lavy and Eigil Nordstrøm each explore the idea of space and atmosphere through their chosen mediums at a new open- air rooftop space within the FieldWorks Complex. Both artists challenge their perceived environments; deconstructing how sites are created, transformed and valued.

Lavy explores the meaning of territory through a new multi-channel video installation named ‘Acreage’ (2017). In this new video piece, Lavy investigates constructed sets based on collective histories within a land of transition and misperception. Through the lack of narrative or belonging, alongside a capture of the absence and the unseen, Lavy questions boundaries which have been a constant pillar of dispute and strain. Lavy purposely analyses the land as an archive, a void to be destroyed or yet ruined. Calling into question the certainty of existential and belief concepts, Lavy re-constructs societal assemblies and shifting realities. Through a strong sense of the aftermath, the viewer endures the stillness of the space without either a precise recognisable condition or a coherent beginning or end.

Nordstrøm’s latest series ‘Cachoeiras’ (2017) takes the idea of an enclosed space as its starting point and builds compositions from the interior of a small wooden box to explore light as a cascading force of nature. Creating new spaces and stages, based on a sensory experience rather than the physical space, he finds new energies in surface textures through extracting only the most perceptual elements of the original site. Seeping through the cracks in the woodwork is the colourful light of the Brazilian outback, retained in his memory after a visit to Chapada Diamantina last year. The constructed space functions as a container that allows light to be reimagined as a viscous material, mingling with vague memories of waterfalls and slippery rocks, and directing the application of paint.