TEMPLATE  - PAINTINGS AND DRAWINGS

In this project, performativity is viewed as a constructivist practice. The work is a diverse arrangement of parts that experiments with the viewing environment as a chain of events. Performativity has been construed as a complex situation that include, modes of encounter, relational systems of engagement, discursive exchange, materiality and temporal processes.

​Rather than direct representation or abstraction, the template paintings and drawings are conceived as signs that hover between concept and execution. In between the "things the mind knows" as material presence and dematerialised absence. This promotes the perceptual ambiguity and semiotic play at the heart of these works.

 

Like his minimalist inspirations, Frank Stella and Carl Andre, Mangion opens a dialogue in the template artwork that is both conceptual and purely physical in its operation and meant to be resolved within the mind of the viewer. His expansion of this principle throughout these works marshal an open-ended visual language, associated with movements at the start of a semiotic, post conceptual approach to art practice. In particular Mangion cites the indexical mode of function. The template paintings and drawings are thus signs connected to a referent along a purely physical axis.

 

AUTOMATIST - PAINTINGS AND DRAWINGS

 

In this research project, performativity is viewed as a constructivist practice. In the final exhibition outcomes  the gallery space becomes a site for a work that situates the viewer as key participant through movement, duration and unfoldment. The work is a diverse arrangement of parts that experiments with the viewing environment as a chain of events. Performativity has been construed as a complex situation that include, modes of encounter, relational and psychoanalytic systems of engagement, inter-subjective transaction, collaboration, discursive exchange, materiality and temporal processes. Inter-subjective exchange serves to question single authorship and ‘self’ as a unified and preordained category. It is the assertion of this project that practice-led research, within performative modes of practice, need to enable the multi-variant voice emanating from participatory exchange. This enablement may then open to a more comprehensive articulation of a performative research culture.The exhibition draws extensively from the artist’s work at the Freud Museum, London.

STUDIO NOCTURNES - PAINTINGS AND DRAWINGS

The studio nocturnes  are  presented as a space where old works, works in progress and research activities mingle together. The studio is thought of not just as a literal space but as an archieve, where  selected objects,  research materials and experiences resonate with each other and provoke reflection and enactment. Studio engagement is thought of as both a mental and physical space, where art emerges from a fusion of immaterial concept and material shaping. It is a literal space  compartmetalised into four sections that aim to give  a framework for locating  a sustained practice. Firstly the studio is thought of as resource. Secondly as a setting or stage. Thirdly as lived space of experience. Finally the  studio as space and non-space. These categories encapsulate an approach to the studio which situate notions of interior, seclusion, alchemy and  transformation with notions of performativity, porosity, and  everday life experience.

 

 

FIGURE  DRAWINGS

 

In this research project, performativity is viewed as a constructivist practice. In the final exhibition outcomes  the gallery space becomes a site for a work that situates the viewer as key participant through movement, duration and unfoldment. The work is a diverse arrangement of parts that experiments with the viewing environment as a chain of events. Performativity has been construed as a complex situation that include, modes of encounter, relational and psychoanalytic systems of engagement, inter-subjective transaction, collaboration, discursive exchange, materiality and temporal processes. Inter-subjective exchange serves to question single authorship and ‘self’ as a unified and preordained category. It is the assertion of this project that practice-led research, within performative modes of practice, need to enable the multi-variant voice emanating from participatory exchange. This enablement may then open to a more comprehensive articulation of a performative research culture.The exhibition draws extensively from the artist’s work at the Freud Museum, London.

LANDSCAPE - PAINTINGS AND DRAWINGS

 

In this research project, performativity is viewed as a constructivist practice. In the final exhibition outcomes  the gallery space becomes a site for a work that situates the viewer as key participant through movement, duration and unfoldment. The work is a diverse arrangement of parts that experiments with the viewing environment as a chain of events. Performativity has been construed as a complex situation that include, modes of encounter, relational and psychoanalytic systems of engagement, inter-subjective transaction, collaboration, discursive exchange, materiality and temporal processes. Inter-subjective exchange serves to question single authorship and ‘self’ as a unified and preordained category. It is the assertion of this project that practice-led research, within performative modes of practice, need to enable the multi-variant voice emanating from participatory exchange. This enablement may then open to a more comprehensive articulation of a performative research culture.The exhibition draws extensively from the artist’s work at the Freud Museum, London.