I returned to The Station Gallery where Barry Smylie: Graphics is hanging to listen and watch Olexander Wlasenko's power point presentation about the interrelationship between still art and the cinema. I arrived early and made a few stills and a video about the the major exhibition, Graham Lynch: The Logic of Subduction.
On the south wall of the east gallery is (or was) this looping, silent video installation:
Opposite, on the north wall of the same gallery, five minimalist images on paper. The looping self portrait is reflected on the glass of the nearest frame.
On the east wall of the old station waiting room:
In the center of the waiting room is (were) four museum cases:
Which contained stitched book signatures with words cut in the pages.
On the west wall of the major gallery:
On the wall above the above, a track with mounted books and a magnifying glass on trucks, around the south and east walls:
For more information and videos of Graham Lynch I have recorded talking about his exhibition click on: The Logic of Subduction.
Olexander set up his equipment and soon a small audience had assembled:
After the showing and talk Olex, Steven, a newspaper photographer/reporter, and myself went to a local tavern for a more serious discussion sometimes about how a camera disengages and engages the photographer to and from what is being photographed or videoed:
After a couple of pints, Olex and I went to his studio.
On the floor was adiptych composed, on the left of a rhombus and, on the right, a five sided irregular sheet of paper. It was like a toy which could be separated and brought back together.
We spent the rest of the night until around 3 am talking about this and that, music, politics, planetary war and peace, art, public speaking... our usual studio visit.
A quote from Frederic Horseman Varley returned from his indenture as a war artist/soldier during World War One :
"We’d be healthier to forget [the war], and that we never can. We are forever tainted with its abortiveness and its cruel drama." (Wikipedia)