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‘Mirror Translation’ is an exhibition of new work by Joseph Norris and Andrew Bracey made in response to London’s The Wallace Collection. Both artists’ practices create new artworks that are in dialogue with and use the imagery of historical paintings. There is a shared intention that their work enables new readings or visual translations of the original artworks drawn from what the artists notice as significant and then seek to highlight within their new work. The artists chose to respond to the collection of a gallery neither had previously visited, The Wallace Collection. They visited together in early January 2022 and the conversations together inspired individual research and the generation of new ideas for work arising from the visit. During the year they have been working individually in their studios, alongside regular conversations about their progress. The exhibition forms the first time Norris and Bracey’s work has come together and opens up a visual conversation between the contemporary artworks by the two artists and the original paintings at The Wallace Collection.

Joseph Norris is interested in the translation of historical paintings through his own process of contemplation and rejuvenation. He has produced a series of four paintings that are a mirrored translation of serendipity; experienced and deployed within his artistic process. Each painting he has created shows moments of distortion, reflection, and natural manipulation of the surface of classical paintings in the Wallace Collection. Norris’ chosen subjects have been selected through acts of curiosity and impulsiveness triggering the mind’s eye and, in turn, the hand of the artist controlling the lens of his 35mm analogue film camera. All of his work will be installed in a way whereby the once-calculated light of the Wallace Collection, mimicked as a visual substance in his paintings, will be metamorphosised beyond the surface and into the exterior as a visual consideration.

Andrew Bracey is interested in the relationship between seeing an original and the reproduction of paintings. He has created two new bodies of work that play with notions emanating from these experiences' differences and commonalities. The Wallace Collection holds two paintings by Paul Delaroche of ‘Joan of Arc in Prison’ that are studies for or replicas of a larger version that is found at the Musée des Beaux Arts, Rouen. He has created new paintings at the same size as the original paintings by the French artist, who apparently declared "from today, painting is dead", upon seeing a daguerreotype for the first time. Bracey’s paintings of ‘Joan of Arc in Prison’ also include other works by Delaroche and the text from the book of the complete collection of paintings. Another new work features a new book created from photographs of details of picture frames, paintings and the surrounding walls in the museum. A fan blows the pages and gives a tantalising, yet frustrating glimpse into the content held within.

Exhibition open by appointment across 26 November - 10 December 2022

Mirror Translation Public Event

A special event takes place on the last day of the Mirror Translation exhibition at 2 pm on Saturday 10th December. The two artists are inviting members of the public into the ongoing conversation about their work produced for the show. Shared points of interest have been identified to lead the discussion from issues arising from the conversations already started by the artists. The open-ended nature of this has been started to be captured in a small publication that accompanies the exhibition and the discussion will help form the future direction for the ‘Mirror Translation’ project. Places are limited to 12 people; please book

An experimental exhibition from resident artists Oliver Ventress and Corrupt Vision. Collaborating over a 6 week period, the artists discovered common themes of post-human existentialism and the crisis of technological advancements.

Private View 11/11/2022 7-10pm

All welcome.

Corrupt Vision - Error; Connection Disrupted (2022, Installation of Print, Screen, Sculpture, Spoken Word and Sound)

Our collective obsession and reliance on digital technologies is reaching a critical threshold, one which is destabilising our social, political and ecological status quo. Error; Connection Disrupted challenges our current relationship with these digital technologies, the way we use them and how they un- doubtedly use us. This is revealed via a mixture of glitched medias and ready-made sculpture utilising aspects of digital consumption as a back drop to a spoken word performance calling on a The glitch you see in yourself is the glitch you can execute on our world, and our future.

Oliver Ventress - Everything Has Turned to Dust (2022, Installation of Sculpted Terrain, Projection, Sound) When extraterrestrial life reaches Earth, this being in a few months, years, or centuries from now, all we can be certain of is that there will be surface below and sky above. This terrain may be worn, beaten and warped from how we know it today. Whatever senses the extraterrestrial beings may have, whatever scale they may be, they will experience our landscape as ground and sky. In this future, everything has turned to dust. There are no objects which remain, and all that once existed has deteriorated and broken down into grains of matter. As an installation, the terrain takes inspiration from the post-apocalyptic Zone of Tarcovsky’s Stalker, and a soundscape dips between abandoned brown noise and cuts of empty silence.

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