Kelly Wood / Monika Grzymala

18 January–16 February 2008

Kelly Wood and Monika Grzymala

Curat­ed by Jessie Caryl, this exhi­bi­tion of works by gallery artist Kel­ly Wood and Ham­burg-based artist Moni­ka Grzy­mala mixed two dif­fer­ent approach­es to the struc­tur­ing, dis­tor­tion and sen­sa­tion­al­iza­tion of sound and space that can be inscribed in music and archi­tec­ture.

Kel­ly Wood will show a new series of ten unique, large, near-mono­chro­mat­ic pho­to­graph­ic images that depict the bina­ry code for­mats of dig­i­tal record­ings of ten songs. Vis­i­ble in each pho­to­graph are the wave forms and fluc­tu­a­tions in code pat­tern pro­duced by the sound. For this new body of work, Wood has select­ed record­ings of inno­v­a­tive Cana­di­an elec­tron­ic or avant-garde music, rang­ing from Hugh Le Caine’s “drip­sody” — com­posed in 1955 from a sound sam­ple of a drip of water falling in a pail — to record­ings by Inter­sys­tems, the Nihilist Spasm Band, John Oswald and the UJ3RK5. An essay by Eric Bell enti­tled Sound and Mate­r­i­al Signs accom­pa­nies the exhi­bi­tion along with sum­ma­rized notes about each com­pos­er, band or musi­cian. By encap­su­lat­ing ten com­po­si­tions per­formed between 1955 and 1990 in their sta­t­ic son­ic residue, Wood’s pho­tos record and make vis­i­ble the abstract repro­cess­ing of an intrin­si­cal­ly imma­te­r­i­al human activ­i­ty.

Based in Ham­burg and Berlin, Moni­ka Grzy­mala has pro­duced recent site-spe­cif­ic instal­la­tions at Trans­mis­sion Gallery, Glas­gow, and in the exhi­bi­tion Free­ing the Line, curat­ed by Cather­ine de Zegher for Mar­i­an Good­man Gallery, New York. For this exhi­bi­tion, Grzy­mala will pro­duce an instal­la­tion enti­tled Dis­tor­tion, com­prised of approx­i­mate­ly sev­en kilo­me­tres of adhe­sive tape. Dur­ing her two-week instal­la­tion process, Grzy­mala has built up lengths and lengths of tape into radi­at­ing clus­ters and stri­at­ed aggre­ga­tions of lines that con­nect to each oth­er and to the floor and walls of the gallery. The look of Grzymala’s instal­la­tion is relat­ed to visu­al inter­fer­ence and pixellation—the ran­dom errors and dig­i­tal dis­tor­tions which appear acci­den­tal­ly in elec­tron­ic imagery. In this exhi­bi­tion a steady, unwa­ver­ing line on the wall might rip­ple, buck­le and peel out into a phys­i­cal­ly reg­is­tered extru­sion as unex­pect­ed as ran­dom­ized pix­els or impro­vised noise.

For fur­ther infor­ma­tion or press enquires please con­tact Catri­ona Jef­fries or Anne Low at +1 604 736 1554.