SUB ROSA Kim Fielding & Andrew Cooper
12th April-24th May. Thurs- Sun 11am-5pm
Preview 11th April 7-9pm
A series of time-based lens based dialogues made during 2007 & 2008. The images evoke the presence of archaic metaphysics in a dirty basement while embracing state of the art – through the lens media. A duality made specifically for this exhibition, Sub Rosa incorporates Libertine Red.
Following the crash landing of Ishmael, a fallen angel cast down from heaven, his Arcadian rhythms blighted as he struggles through a transitory journey back from a hell of his own making… he’s dark, brooding and dangerous to know.
Also presenting ‘Nest’ a containment of a claustrophobic conundrum asking ‘What’s in the box?’ How did it get there? How long has it been there? When will it wake up?’
Sub Rosa is dark red and sticky. It looks inside the heart of the protagonist. Often dictated by the limits of the bodily experience, my work deals with pre-conceived notions of masculinity, through placement of the work, installation and medium, I aim to stretch the boundaries of framing, moral judgment and geography. The relationship with the audience & the model, intimate – the dialogue unsustainable…
Fielding deals his Sub Rosa close to the heart, dark and intimate. Using the process work ‘Boxjob’ Fielding maintains a mel-anomic mixture of tactile ‘still moving’ imagery installed in a dark & intimate basement underneath Elysium. A Space in Swansea.
K. Alexander Fielding
“Nomansland” An Installation
On Sunday 11 / 11 / 07 @ 11 o’clock tactileBOSCH Studios, Cardiff opened an exhibition entitled “Dark Victory”. I made the decision to produce a work to explore this auspicious event by referencing the emotional, historical, contemporary and political issues that Armistice Day symbolises.
Long before the Great War, the red poppy had become a symbol of death, renewal and life. The seeds of the flower remaining dormant in the earth for years, but blossoming spectacularly when the soil is churned. In late 1914, the fields of Northern France and Flanders became the scene of stupendous disturbances.
Red poppies appeared.
To secure our well being recent actions taken by Blair and Bush in Iraq have been portrayed as some form of modern day crusade ridding us of the threat from terrorism. Our Global village questions the morality behind such actions, the validity, the mass media manipulation of “facts”, the humanitarian, economical and political incentive for such enterprise.
The work “nomansland” is a space for thought, spacial relationships, and the architecture of the scene, the psychological dislocation and the physical response to the subject
A portable memorial, the packing case continuously travels the world registering areas of conflict and wearing the “tags” of conflict like scars.
Inside the work explodes in a field of red with poppies suspended from tears of blood infinitely reflected in mirrors. A trench of glass, which acts as a bodily, not visual barrier, exploits the obsession with the physical object, focusing the participants access and viewpoint
Sprayed on the wall the slogan “HONOUR THE COVENANT” appears as an action of disfigurement but the message and action confirms the historical and contemporary issues underlining the works interpretation.
“HONOUR THE COVENANT” is the campaign of the Royal British Legion calling on Government to honour its life-long duty of care to those making a unique commitment to their country.
The installation is being developed with the Royal British Legion and will be showcased throughout the country at Annual Political Party Conferences.
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