Publics
Nat Faulkner
John Knight
Daniel Graham Loxton
Flat 3, 5 Bowman’s Mews
London, United Kingdom
May 17 - Jun 14, 2024
Anonymous Drawings - Daniel Graham Loxton
Art historian and sociologist Arnold Hauser’s basic insight into understanding was based on his idea that value-determining cognitive layers are intertwined into the general perspective of daily life - that a kind of mental reservation is required to methodically separate the layers for the sake of better understanding.(1)
The luminescent eye apprehends an object producing a vibration in the retina which the brain decodes, distilling the information through a filter in accordance with its preconceptions of everyday life. A necessary insurgence of disbelief is deployed, a balancing act that casts a separation between the subjective impression (interior) and the empirical expression (exterior) for a multifaceted middleground to be met.
Describing Hauser’s ideas, Nicholas Tammens said, “He challenged the idea of a unitary art history and a unitary audience for art. The reception of a work is composed of multiple publics at different periods with their own values, sensibilities, habits of viewing and use-values of these forms.”(2)
The use of the word “publics” is useful to refer to the fact that works have certain locality and variable validity in localities both geographically and across time.
The segmentation of time and its quantification expels time from the realm of celestial bodies and confines it to an earthly domain. When time becomes matter, substance and medium, experience does not accumulate endlessly in an amorphous mass, nor is it inscribed in an unbroken linearity.(3) From void to solid, time is sliced 12 times and another 60 within each slice.
(1) Zuh, D. (2015). Arnold Hauser and the multilayer theory of knowledge. Studies in East European Thought. 67.
(2) Tammens, N. (2021). Jef Geys and the School. Plattform. Bergen Kunsthall; Bergen Kunsthall.
(3) Foucault, M. (1972). The Archaeology of Knowledge. Pantheon Books.
Nat Faulkner
John Knight
Daniel Graham Loxton
Flat 3, 5 Bowman’s Mews
London, United Kingdom
May 17 - Jun 14, 2024
Anonymous Drawings - Daniel Graham Loxton
Art historian and sociologist Arnold Hauser’s basic insight into understanding was based on his idea that value-determining cognitive layers are intertwined into the general perspective of daily life - that a kind of mental reservation is required to methodically separate the layers for the sake of better understanding.(1)
The luminescent eye apprehends an object producing a vibration in the retina which the brain decodes, distilling the information through a filter in accordance with its preconceptions of everyday life. A necessary insurgence of disbelief is deployed, a balancing act that casts a separation between the subjective impression (interior) and the empirical expression (exterior) for a multifaceted middleground to be met.
Describing Hauser’s ideas, Nicholas Tammens said, “He challenged the idea of a unitary art history and a unitary audience for art. The reception of a work is composed of multiple publics at different periods with their own values, sensibilities, habits of viewing and use-values of these forms.”(2)
The use of the word “publics” is useful to refer to the fact that works have certain locality and variable validity in localities both geographically and across time.
_____
The segmentation of time and its quantification expels time from the realm of celestial bodies and confines it to an earthly domain. When time becomes matter, substance and medium, experience does not accumulate endlessly in an amorphous mass, nor is it inscribed in an unbroken linearity.(3) From void to solid, time is sliced 12 times and another 60 within each slice.
(1) Zuh, D. (2015). Arnold Hauser and the multilayer theory of knowledge. Studies in East European Thought. 67.
(2) Tammens, N. (2021). Jef Geys and the School. Plattform. Bergen Kunsthall; Bergen Kunsthall.
(3) Foucault, M. (1972). The Archaeology of Knowledge. Pantheon Books.
Nat Faulkner
Untitled, 2024
Borosilicate glass tube, silver mirror reaction
15 x 77 x 3 cm
Daniel Graham Loxton
Untitled (Lux), 2023
Oil, wax, Japanese watercolour, dry pigment and charcoal on folded canvas on stretcher bars
29 x 26.5 cm
Daniel Graham Loxton
Untitled (Dwelling), 2023
oil, Japanese watercolour, collage, pencil, and adhesive on panel
26 x 20 cm
John Knight
The Soul Thieves of Youth, 2018
Inkjet print on paper in plastic sleeve taped to wall
42 x 31 cm
John Knight
Another Year in Neverland, 2018
Inkjet print on paper in plastic sleeve taped to wall
42 x 31 cm
John Knight
Peasant Wholesomeness, 2018
Inkjet print on paper in plastic sleeve taped to wall
42 x 31 cm
Daniel Graham Loxton
Untitled (Drawing with R.D.), 2023
watercolor, paper collage, enamel and pencil on found spiral bound paper
62 x 45 x 4 cm
Nat Faulkner
Ampoules (III), 2024
Borosilicate glass tube, silver mirror reaction, rain water, photo dye
Dimensions variable (6 x 150 x 3 cm)
John Knight
Daydream Nation, 2018
Inkjet print on paper in plastic sleeve taped to wall
42 x 31 cm
Photography Daniel Browne