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All Night on the Road
Kirsten Farrell

The main thing wrong with painting is that it is a rectangular plane placed flat against a wall.
Donald Judd

By this art you may contemplate the variation of the 23 letters&
The Anatomy of Melancholy, Part 2, sect. II, mem. IV.
Jorge Luis Borges, The Library of Babel

All night on the road is a new solo exhibition by Kirsten Farrell, whose work addresses visual and linguistic abstraction through a formal exploration of colour. It is a series of paintings based on the work of poet Melinda Smith.

Farrell's paintings do not behave quite like paintings. They are partially transparent and the paint itself is not on the surface. They do not sit flat against a wall but lean and cast shadows. They seem to be the result of a clean manufacturing process but in fact are meticulously hand painted. They are at once decorative objects and Borgesian language games to be decoded and analysed. Their colours acquire new possible meanings by association with poetry and texts; the paintings are abstract and geometric and yet their romantic titles corrupt the conceptual cleanliness of formalism and hint at a wry perspective on the seriousness of art.

Image above: Kirsten Farrell

Not quite ready yet a multitude of pre-snaps
Heidrun Lohr

I load the camera. The film, exposed to the light, blackens. I advance the film by one or two frames, to get the camera ready for shooting. It is then, that accidental images imprint themselves into the emulsion of the film. By chance - uninfluenced and unshaped by the selective eye. Unnoticed, a dialogue, an interaction between the camera and the world is taking place, with no interference by me, the photographer. But one day they grabbed my eye and I began to collect the filmstrips' black beginnings from which these pre-snaps emerge. And now the eye seeks to find out what it is, that is depicted on these images.....out of focus, unshaped, random, blurry, cut off. Categorise it, identify it, name it....and it is only at rest when it can make out a chair, a foot, a corner. We are in a transitional phase between digital and analogue photography. Kodak is producing less and less film. In digital photography this phenomenon of the pre-snap does not occur. Lost to the on the spot delete possibility. This exhibition is dedicated to the film roll.

This work by Heidrun Lohr is about the accidental, unintentional photo image, uninfluenced by the selective eye, embedding itself unnoticed into the surface of the film. It is about a multitude of pre-snaps emerging out of the blackness of the exposed film beginning.

Image above: Heidrun Lohr