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https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1575034868486-77YMXQ0WKWD5SHL0016Z/Retrofit_Subtitles_Final+%280-00-45-17%29.png Pavotek https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1575034869651-CCEBT6FR3D43S8EMX0NU/Retrofit_Subtitles_Final+%280-01-02-14%29.png Pavotek https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1575034881132-4Z4T3R8GSJ0TF1K02L8X/Retrofit_Subtitles_Final+%280-01-40-07%29.png Pavotek https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1575034878691-NH8NSV2D0H2XSDKTKQNZ/Retrofit_Subtitles_Final+%280-02-27-12%29.png Pavotek https://www.darrenchouings.co.uk/viborg daily 0.75 2019-11-29 https://www.darrenchouings.co.uk/invasion daily 0.75 2020-05-04 https://www.darrenchouings.co.uk/nvm daily 0.75 2020-10-12 https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1576087100651-FAJINUWRJXWCSCGT2PCK/NVM+Mockups.png NVM https://www.darrenchouings.co.uk/herose daily 0.75 2020-03-30 https://www.darrenchouings.co.uk/tc-mccormack daily 0.75 2020-05-04 https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913941287-DOXKFR3RIRS8E1046WWH/2.+All+our+Ships.+TC+Mcck.jpg TC McCormack - All our Ships are at Sea All our Ships are at Sea – by TC McCormacka spoken text (audio looped), a video diptych (on Barco monitors), a series of suspended fabric prints, a large wall based print. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913956552-G7W2RNSPUXRUGY426NVV/3+All+our+Ships.+TC+Mcck.jpg TC McCormack - All our Ships are at Sea All our Ships are at Sea – by TC McCormacka spoken text (audio looped), a video diptych (on Barco monitors), a series of suspended fabric prints, a large wall based print. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913963141-DSBQJ5IKJ2I5AUHHNJ5E/3..jpg TC McCormack - Play it as it lays Installation featuring a collection of statues, artefacts, sculpture and contemporary materials, HD digital video projection and audio. Viborg Kunsthal, Viborg, Denmark. Sept-Nov 2018 https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913973358-U175YNI74G5J0E2RE66R/4.jpg TC McCormack - Play it as it lays Installation featuring a collection of statues, artefacts, sculpture and contemporary materials, HD digital video projection and audio. Viborg Kunsthal, Viborg, Denmark. Sept-Nov 2018 https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913944104-NWCHWJMWVEGS1MU4L5XV/1..jpg TC McCormack - The Immense Ventriloquism HD digital projections, a series of suspended fabric prints, a low platform structure with a collection of sculptures and drawings. 2017 at: nationalmuseum, Berlin, December 2017 https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913978629-G9VBNJ4MF9RL6LQS5GP2/4+The+Imm-Vent.jpg TC McCormack - The Immense Ventriloquism HD digital projections, a series of suspended fabric prints, a low platform structure with a collection of sculptures and drawings. 2017 at: nationalmuseum, Berlin, December 2017 It was not from the vast ventriloquism of sleep’s faded papier-mache… The sun was coming from the outside. by Wallace Stevens, from the poem - Not ideas about the thing, but the thing itself’ The exhibition encompassed a diptych of films, displayed through digital projection, three large fabric prints suspended in an offset arrangement, and a platform assemblage which featured a collection of sculptures and drawings by eight artists, onto which a series of animated pattern-motifs are projected. The Immense Ventriloquism is also the title for the film diptych. The film diptych is in a dialogue with the animated platform assemblage, the visual phrasing moves between and across the three time-based elements with a particular cadence and rhythmic structure. Each phrase or scene appears as a material configuration; their characteristics are distinctly different; in form, tone and pace. The term Ventriloquism speaks to the immediacy of difference, and in the activation of the other. This exhibition questions the boundaries between video and sculpture, materiality and immateriality, by foregrounding the temporal as much as spatial conditions of sculpture, and valuing the digital surface with equal regard. As an unfolding act of dislocation, the animated pattern-motifs resist any temporal trajectory; in they appear to move in and out of time. This idea informs the project’s visual language; from a divergent fragmentation of surfaces, to the dissembling patterns, and an ungraspable slippage of content. As singularities within the assemblage, the selected sculptures have quite different characteristics, each piece is considered for how it effects and activates the others. These formal gestures are counterpoint to and within the aggregate, distinct and various positions on the platform. The assemblage platform features work by: Matthew Burbidge, Ingo Gerken, Sonja Burbidge, Marie von Heyl, Wolf van Kries, Michael Schultze, Lea Torp Nielsen & Oliver Zwink. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913992125-NZ6G1C40GV7TX44KEWSW/7+The+Immense+Ventriloquism.+still.jpg TC McCormack - The Immense Ventriloquism HD digital projections, a series of suspended fabric prints, a low platform structure with a collection of sculptures and drawings. 2017 at: nationalmuseum, Berlin, December 2017 It was not from the vast ventriloquism of sleep’s faded papier-mache… The sun was coming from the outside. by Wallace Stevens, from the poem - Not ideas about the thing, but the thing itself’ The exhibition encompassed a diptych of films, displayed through digital projection, three large fabric prints suspended in an offset arrangement, and a platform assemblage which featured a collection of sculptures and drawings by eight artists, onto which a series of animated pattern-motifs are projected. The Immense Ventriloquism is also the title for the film diptych. The film diptych is in a dialogue with the animated platform assemblage, the visual phrasing moves between and across the three time-based elements with a particular cadence and rhythmic structure. Each phrase or scene appears as a material configuration; their characteristics are distinctly different; in form, tone and pace. The term Ventriloquism speaks to the immediacy of difference, and in the activation of the other. This exhibition questions the boundaries between video and sculpture, materiality and immateriality, by foregrounding the temporal as much as spatial conditions of sculpture, and valuing the digital surface with equal regard. As an unfolding act of dislocation, the animated pattern-motifs resist any temporal trajectory; in they appear to move in and out of time. This idea informs the project’s visual language; from a divergent fragmentation of surfaces, to the dissembling patterns, and an ungraspable slippage of content. As singularities within the assemblage, the selected sculptures have quite different characteristics, each piece is considered for how it effects and activates the others. These formal gestures are counterpoint to and within the aggregate, distinct and various positions on the platform. The assemblage platform features work by: Matthew Burbidge, Ingo Gerken, Sonja Burbidge, Marie von Heyl, Wolf van Kries, Michael Schultze, Lea Torp Nielsen & Oliver Zwink. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913939556-VS4KPJLQKRAIJ0AKEH02/1.jpg TC McCormack - We didn’t look after it, it fell apart Monitor diptych and large print (back lit). HD video (looped) dimensions variable Viborg Kunsthal, Viborg, Denmark, Sept-Nov 2018 This work features a large print (backlit freestanding) and two monitors, one of which is draped a translucent fabric print. Both monitors display animated sequences that negated a filmic narrative form, rather they present a more spatial animated language. The monitors positioning within the gallery space reflects their function as activating objects or animated forms. The large free standing back-lit print frames one end of the gallery space and depicts a linear set of lines that appear to resemble both a grid and a double mask like face. The crudeness of the lines speaks the language of Neolithic drawing, while the slight fragmentation of the image gives the impression of a dissolution or an unravelling. Both monitors display sequential phrasing, which enables animated gestures and scenes to move between this diptych of screens, and by extension relay across the gallery space, this in turn sets up a dialogue with a large print that frames the gallery space. Collectively these three elements appear to move in and out of time, while managing to resist any conventional temporal reading, they speak to unfolding acts of dislocation. A translucent fabric print draped over a vertical monitor, which created the doubling optical effect of overlaying two digital patterns. The fabric had the effect of softening the monitor, making it more of an object. This work was developed in response to the curatorial theme of the exhibition, the elements and composition were developed in direct response to Laura White’s sculptures, which were planned to be presented in the same space. An active curatorial conversation was an important aspect to this piece, to consider the wider scope of forms and materials. This is an example of curatorial led art practice. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913954671-VQ3ECVTJXI5RGZSB49UT/2.jpg TC McCormack - We didn’t look after it, it fell apart Monitor diptych and large print (back lit). HD video (looped) dimensions variable Viborg Kunsthal, Viborg, Denmark, Sept-Nov 2018 This work features a large print (backlit freestanding) and two monitors, one of which is draped a translucent fabric print. Both monitors display animated sequences that negated a filmic narrative form, rather they present a more spatial animated language. The monitors positioning within the gallery space reflects their function as activating objects or animated forms. The large free standing back-lit print frames one end of the gallery space and depicts a linear set of lines that appear to resemble both a grid and a double mask like face. The crudeness of the lines speaks the language of Neolithic drawing, while the slight fragmentation of the image gives the impression of a dissolution or an unravelling. Both monitors display sequential phrasing, which enables animated gestures and scenes to move between this diptych of screens, and by extension relay across the gallery space, this in turn sets up a dialogue with a large print that frames the gallery space. Collectively these three elements appear to move in and out of time, while managing to resist any conventional temporal reading, they speak to unfolding acts of dislocation. A translucent fabric print draped over a vertical monitor, which created the doubling optical effect of overlaying two digital patterns. The fabric had the effect of softening the monitor, making it more of an object. This work was developed in response to the curatorial theme of the exhibition, the elements and composition were developed in direct response to Laura White’s sculptures, which were planned to be presented in the same space. An active curatorial conversation was an important aspect to this piece, to consider the wider scope of forms and materials. This is an example of curatorial led art practice. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913964063-2LHVXFVZ6GL4K3A56B4N/4+2.jpg TC McCormack - We didn’t look after it, it fell apart Monitor diptych and large print (back lit). HD video (looped) dimensions variable Viborg Kunsthal, Viborg, Denmark, Sept-Nov 2018 This work features a large print (backlit freestanding) and two monitors, one of which is draped a translucent fabric print. Both monitors display animated sequences that negated a filmic narrative form, rather they present a more spatial animated language. The monitors positioning within the gallery space reflects their function as activating objects or animated forms. The large free standing back-lit print frames one end of the gallery space and depicts a linear set of lines that appear to resemble both a grid and a double mask like face. The crudeness of the lines speaks the language of Neolithic drawing, while the slight fragmentation of the image gives the impression of a dissolution or an unravelling. Both monitors display sequential phrasing, which enables animated gestures and scenes to move between this diptych of screens, and by extension relay across the gallery space, this in turn sets up a dialogue with a large print that frames the gallery space. Collectively these three elements appear to move in and out of time, while managing to resist any conventional temporal reading, they speak to unfolding acts of dislocation. A translucent fabric print draped over a vertical monitor, which created the doubling optical effect of overlaying two digital patterns. The fabric had the effect of softening the monitor, making it more of an object. This work was developed in response to the curatorial theme of the exhibition, the elements and composition were developed in direct response to Laura White’s sculptures, which were planned to be presented in the same space. An active curatorial conversation was an important aspect to this piece, to consider the wider scope of forms and materials. This is an example of curatorial led art practice. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913979436-ZQ1CDBAQP7CUWNXRWXEJ/5+copy.jpg TC McCormack - We didn’t look after it, it fell apart Monitor diptych and large print (back lit). HD video (looped) dimensions variable Viborg Kunsthal, Viborg, Denmark, Sept-Nov 2018 This work features a large print (backlit freestanding) and two monitors, one of which is draped a translucent fabric print. Both monitors display animated sequences that negated a filmic narrative form, rather they present a more spatial animated language. The monitors positioning within the gallery space reflects their function as activating objects or animated forms. The large free standing back-lit print frames one end of the gallery space and depicts a linear set of lines that appear to resemble both a grid and a double mask like face. The crudeness of the lines speaks the language of Neolithic drawing, while the slight fragmentation of the image gives the impression of a dissolution or an unravelling. Both monitors display sequential phrasing, which enables animated gestures and scenes to move between this diptych of screens, and by extension relay across the gallery space, this in turn sets up a dialogue with a large print that frames the gallery space. Collectively these three elements appear to move in and out of time, while managing to resist any conventional temporal reading, they speak to unfolding acts of dislocation. A translucent fabric print draped over a vertical monitor, which created the doubling optical effect of overlaying two digital patterns. The fabric had the effect of softening the monitor, making it more of an object. This work was developed in response to the curatorial theme of the exhibition, the elements and composition were developed in direct response to Laura White’s sculptures, which were planned to be presented in the same space. An active curatorial conversation was an important aspect to this piece, to consider the wider scope of forms and materials. This is an example of curatorial led art practice. https://images.squarespace-cdn.com/content/v1/5d35757587868400019751ea/1585913986234-06NTZ29V1MP6LKXUCDR7/6.jpg TC McCormack - We didn’t look after it, it fell apart Monitor diptych and large print (back lit). HD video (looped) dimensions variable Viborg Kunsthal, Viborg, Denmark, Sept-Nov 2018 This work features a large print (backlit freestanding) and two monitors, one of which is draped a translucent fabric print. Both monitors display animated sequences that negated a filmic narrative form, rather they present a more spatial animated language. The monitors positioning within the gallery space reflects their function as activating objects or animated forms. The large free standing back-lit print frames one end of the gallery space and depicts a linear set of lines that appear to resemble both a grid and a double mask like face. The crudeness of the lines speaks the language of Neolithic drawing, while the slight fragmentation of the image gives the impression of a dissolution or an unravelling. Both monitors display sequential phrasing, which enables animated gestures and scenes to move between this diptych of screens, and by extension relay across the gallery space, this in turn sets up a dialogue with a large print that frames the gallery space. Collectively these three elements appear to move in and out of time, while managing to resist any conventional temporal reading, they speak to unfolding acts of dislocation. A translucent fabric print draped over a vertical monitor, which created the doubling optical effect of overlaying two digital patterns. The fabric had the effect of softening the monitor, making it more of an object. This work was developed in response to the curatorial theme of the exhibition, the elements and composition were developed in direct response to Laura White’s sculptures, which were planned to be presented in the same space. An active curatorial conversation was an important aspect to this piece, to consider the wider scope of forms and materials. 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