Creative collaborations are a form of communication between artists. This is what makes their creations so interesting to the viewer: seeing how different minds respond to a stimulus and to each other.
The Gallery of Everything has a bold name and a bold approach when it comes to curating exhibitions, and Studies in Verberation is no different. It is an exhibition of work put together by ACM and Julius Bockelt, in which one maker reclaims sound transmission apparatus, while the other takes sound itself and materialises it as an objectified line.
Originally trained as a fine artist, ACM left his studies to follow the philosophical roots of his practice. Together with his wife, he returned to the remote village of his childhood, constructing a home and studio from the ruins of his father’s warehouse. Foraging in the forest for natural materials, ACM whittled fragments of chalk and presented them as board-mounted archaeologies. They announced what was to become a lifetime investigation into a semi-fictional past. At its heart lay the artist’s fascination with the discarded and forgotten, as found objects and the guts of defunct typewriters, telephones, radios and clocks were offered the chance of life anew.
Julius Bockelt is what is known as a "performative penman"; a practice which combines mark-making and fine-art with performance. He is interested in the concepts of sound and silence, and how these phenomena are considered to be both immaterial and material. His work is formed by tiny packets of light-handed lines, tracking precise observations of sound. By doing this, he turns an epheremal moment into ink on paper.
Until 28 April 2019, The Gallery of Everything.
Blog post by Jessica Edney