GazelliArtHouse,39DoverStreet,London,W1+44 (0) 2074918816 www.gazelliarthouse.cominfo@gazelliarthouse.com

ONTHEMOVE

HyoMyoungKimAntonyHallGiovanniOzzolaCharlotteBecket

8June–16August2012OnTheMoveexploresthedifferentattributesoftheword 'movement'‐bothinitsphysicalsenseand,touchingonpresentday's chosenandarguablypreferred,wayof life. In the constant search forhome,ournomadicand fast‐pacedexistencehasproventobethemostefficientwayoflivingbutattheexpenseoflosingtouchwiththedelicacyandintimacyoflife.HyoMyoung Kim, Antony Hall, Charlotte Becket and Giovanni Ozzolamerge the concept of movement with therequirementtoslowdownandseetheworks.Theseopposingconceptsprovideamagneticvisualeffectinvitingtheaudiencetoengagewiththeworkwithoutquestioningtheimportanceoftime.Withthe2012LondonOlympicsexpectingover4millionsvisitorsfromacrosstheglobe,GazelliArtHousewillalsopresentnew,speciallycommissionedworksexploringthe‘movement’theOlympiceventswillcreateinthecity.HyoMyoungKim HyoMyoungKimcreatesworksthatcontemplatetheconnectionbetweenpixels indigital imagesandmodernart.Recenttechnologiessuchas‘RetinaDisplay’hidethevisualbaseofagridbymakingthepixelssmaller;however,thisillusionbreaksdownupon closer inspection.Whatbecomesapparentare the rowsof rectangular colourblocks –whatKimperceivesasa reflectionofthevisual languageofmodernart‐Cubism,DeStijlandMinimalism.AsKimexplains, “From a distance, a digital image could be a Vermeer or Dürer. Up close, it looks like a chance‐based

paintingbyKellyoraRichterpainting”.Thesetwoopposingsides–therealandtheantireal–sittogetherinthesameimagebutonlyonesidecanbevisuallyperceivedatonetime.For Gazelli Art House, Kim presents a series of new works including a digital printentitled ‘1,001 Nights’. A pun on the title of the Arabian story, ‘1,001 Nights’, nightphotographs are amalgamated together with only the bright parts of the photosremainingintheimage.AquickGoogleimagesearchof“nightphotography”resultsinthousandsofphotographsofmoodynightscenes.‘1,001Nights’byHyoMyoungKimisacollectionoftheselow‐resolutionthumbnails,resizedto1,001x1,001pixelsquareimage.

AntonyHallHall is known for his ability to use the visual arts as amediumof teaching science and demonstrating scientificconcepts.Hisaesthetic,sculpturalpiecesareusedtoencouragecreativeexperimentation inthequesttouncoverscientificsecrets.Previousexamplesincludephotographyworkshopsthatcovervisualperceptionandcolours.HereHalltookvariousoptical illusionsasareferencetoshowthephenomenonof stereovision and the development of moving image techniques. ForGazelli Art House, Hall presents several new works that explore fluidmotion;discreteobjectsthatattempttodefyentropy,theharnessingelementsofpotentialandkineticenergyandself‐perpetuation.Works include‘PerpetualPuddleVortex’ whereby liquid will drop down a hole in a puddle that neverreduces. Aside from the vortex, Hall will also showcase a new series ofhoney and resin injected perspex sheets in order to demonstrate the

HyoMyoungKim,SpectrumColoursArrangedbyChanceVII–fingered,2012

AntonyHall,PerpetualPuddleVortex,2001

GazelliArtHouse,39DoverStreet,London,W1+44 (0) 2074918816 www.gazelliarthouse.cominfo@gazelliarthouse.com

interactionof variousmaterials.AsHall states “I am interested inhowwe interfacewith scienceand technology,visually,physicallyandideologically,andhowtheseinteractionseffectuscreativelyandsocially.”GiovanniOzzola

Just as flipbooks create animation through a rapid succession of individualphotos,soOzzolastrivestorepresentthemovementof light.Ozzola recapturesindividualimagesofhisownvision,impressingthemonthepaperasthoughtheywereablinkingoftheeye.Lightistherecognisablesignofthepassingoftime.Itis sunlight, the physical phenomenon that marks out our days, but it is alsoartificial light that guides the eyesanddefines theobjects. Light is awave thatenablesustoperceivematter,butitisalsoameansforimpressinganimageandbringingittolife.

For Gazelli Art House, Ozzola invites the observer to embark on a cognitiveexperience and he does so by reconstructing a new level of time. Ozzola willpresentanewworkentitled‘Consequence‐almostdark’2010.Theworkconsistsof a triptych of large‐scale photographic images that represent awater surfaceanimated by ripples, seemingly caused by drops formed by the humidity of itssurroundingenvironment.Theimagestaketheviewertoasuspended,indefinitetime, capturing them in an absolute and almost metaphysical dimension.‘Consequence‐almostdark’willbeexhibitedalongsideanewvideo installationAlba–Notte–Maggio,2009,whichagaindepictsan illustrationoftimeandtheeffect it has on light. The video shows an interior setting and how the lightchangesoverthecourseofaday.

CharlotteBecketTheworkofCharlotteBecket ismadefromdiscardedmaterials(plastic,tape)aswellasmechanicalcomponentssuchastheuseofamotor.Theworksareseemingly inanimateobjectsbutclose inspectionshowsthemexpanding and contracting as if breathing. As Becket states “Therepetitiously falling and turning objects occupy an ambiguous statesomewherebetweenhopefulanticipationandbanalrecurrence,astheymechanically perform tasks that straddle and confuse the boundariesbetweenoptimismandfutility."

NotestoeditorsIn March 2012, Gazelli Art House opened its first permanent gallery space located on Dover Street in central London. Thegallery’s inaugural exhibitionwas entitled ‘Bodhi’ and consistedof newworks by international artists such asOlympia Scarry,JaumePlensa,shanHurandKhanlarGasimov.AspartofGazelliArtHouse’songoingcommitmenttoarteducation,thegallerywillinviteindividualstoembarkonajourneyofunderstandingartthroughtalks,workshopsandtours.Asanartorganisationwearededicatedtoprovidinganewsettingfortheunderstandinganddeeperappreciationofart.ForfurtherinformationpleasecontactRachelPhillippsatPagetPR:Tel:+44(0)2073236963/Email:rachel@pagetbaker.com

CharlotteBecket,Inkblot,2009

GiovanniOzzola,Alba–Notte–Maggio,2009