Gary Colclough
Across Gary Colclough’s artistic work, the architecture of seeing takes on a texture where multiple temporalities coalesce. The pictorial space is thus ‘shaped’ as both intimate ruin and subjectivized monument. If land is considered a forensic ground, Colclough draws out coded figures that disturb the boundaries between nature, culture and society. His view upon terrain renders landscape(s)-in-action - as matter that matters. Unlike the all-pervading machismo of the 18th century landscape painter, this artist privileges a choreography of fragments: the below-surface detail, a georgic imaginary, material symmetry, and those quiet yet apocalyptic scenes that expose humanity’s complex relations to ecology.
Working at the crossings of drawing and sculpture, Colclough creates support systems for his pencil drawings that often mirror viewing apparatus from the Victorian era - such as the Claude Glass, the photographic tripod, the heliograph and stereoscope. In staging inversed and doubled views, the ocular field is set into a diagrammatic relation of machinic and organic elements. His immersive compositions draw together aspects of geometry with detailed patterning echoing from the natural world.
Colclough has held solo exhibitions at William Bennington Gallery in London, dale Rosa Gallery in London, Smallspace in Berlin, Gooden Gallery in London, and Basement 43 …
Across Gary Colclough’s artistic work, the architecture of seeing takes on a texture where multiple temporalities coalesce. The pictorial space is thus ‘shaped’ as both intimate ruin and subjectivized monument. If land is considered a forensic ground, Colclough draws out coded figures that disturb the boundaries between nature, culture and society. His view upon terrain renders landscape(s)-in-action - as matter that matters. Unlike the all-pervading machismo of the 18th century landscape painter, this artist privileges a choreography of fragments: the below-surface detail, a georgic imaginary, material symmetry, and those quiet yet apocalyptic scenes that expose humanity’s complex relations to ecology.
Working at the crossings of drawing and sculpture, Colclough creates support systems for his pencil drawings that often mirror viewing apparatus from the Victorian era - such as the Claude Glass, the photographic tripod, the heliograph and stereoscope. In staging inversed and doubled views, the ocular field is set into a diagrammatic relation of machinic and organic elements. His immersive compositions draw together aspects of geometry with detailed patterning echoing from the natural world.
Colclough has held solo exhibitions at William Bennington Gallery in London, dale Rosa Gallery in London, Smallspace in Berlin, Gooden Gallery in London, and Basement 43 in London. Group exhibitions include Xi’an Academy of Fine Arts in China, P.P.O.W. in new York, Royal Academy of Arts in London, and Identity Gallery in Hong Kong.
Courtesy of William Bennington Gallery.
