Artist and curator Paul Jones continues the exploration of liminal spaces, separate from but parallel with reality.
The first iteration of HETEROTOPIA — DISJUNCTURE took place in 2022 at 19a Parade Mews, London. Presenting the work of 6 international artists, the show was intended as a window into a space within a space, an uncanny familiarity – as if viewing reality through rippled glass.
HETEROTOPIA DISJUNCTURE II takes this moment as the point of departure: an immersion into the incoherence and intensity of a flawed symmetry, the world inside the mirror.
Layered with contradictions, HDII hones in on heterotopic spaces as experience, familiar states and scenarios, their antitheses, merging into one, activating one another. Here, the rupture is a moment, an occurrence, and the reverberations that follow. Shifting temporalities challenge familiar narratives, possibilities growing from the cracks.
HETEROTOPIA DISJUNCTURE II is a machination, an attempt to create spaces where time can exist on different planes, an ‘elsewhere’ where the rules of society are both replicated, enhanced, dissolved and re-imagined.
Hurvin Anderson often works from photographs and his own memories to create works that range from delicate paintings on vellum to large canvases that can consume an entire wall. His paintings and works on paper "depict places where memory and history converge" and engage with issues of identity and representation. While works, such as Studio Drawing 15 (2016) mark a shift toward abstraction in his oeuvre, the motifs of the barbershop, densely layered trees, and Caribbean landscapes have been consistently featured throughout most of his career. ➔link
Lauren Craig is a London-based cultural futurist. Her expansive practice as an artist, curator, full-spectrum doula and celebrant is untethered, sprawling and liberatory. Carefully marrying concept with materiality, she slowly moves between performance, installation, experimental art writing, exhibition-making, moving image, research and photography. ➔link
Jens Förster from hamburg cuts monitor disturbances into wood and produces a series of 3 color prints. In a stamped and drawn, never ending children's book he documents changes of nature and cultural rooms in the city development process. ➔link
Amanda Francis is preoccupied space/place and its role in the process of individuation. Roadside 2019 is part of a series of moving image vignettes, observing and capturing common occurrences and incidents in and around her neighbourhood. The process of slicing, layering and placing elements anachronistically offer a tender inspection of non-events or moments, that are often unnoticed or ignored. ➔link
Paul Jones works across drawing, animation, and sculpture, exploring the nature and potential of materials and form. He plays with the notion of heterotopia; the potential simultaneous existence of ostensibly incompatible locations within one space or site, relations between the microcosmic and macrocosmic, inner, and outer space. Here, dynamic forces shape, control and ground objects, landscape, and atmosphere. They are connected in systems, seemingly ruled by human and more-than-human intelligences, simulated in 3D landscaping, drawn in various mediums across textured surfaces, or expanded into rhizomatic 'growths or ‘parasites’ ➔link
Margaret Prescod creates immersive, sculptural installations. Using mediums such as raw sugar cane, tar and measuring tapes, her works incorporate individual characters into freewheeling narratives that combine spirits and folklore alongside memories and formal histories. Prescod sees her practice as a rebellious act that questions the validity of stories and histories passed down through generations, leaving space for the bittersweet emotions of joy and pain. Her work is an attempt to rationalise the experience of repulsive oppression - a pain that runs wild like an infectious repetition throbbing beneath the underground path. In her practice, she seeks to explore and understand what she terms ‘idiotic supernatural powers’, whilst questioning what lies beyond appearance and what is real. ➔link
Sebastian Zarius uses photographic processes for his series of pictures. He enlarges cut-outs taken from plastic bags and plastic packaging in such a way that not much remains of the advertising medium that served as a model. His interest lies in surmounting the material through formal acquisition; in the foreground is the idea of autonomous form and the intuitive search for a composition. ➔link