en en en pt id en en en es en en en en en en en en es en
CELLULOSE CELLULOID CELLULITEtakes its starting point from a material quality that moves through different dimensions It is flat and still like paper, it is temporal and dynamic in film, and finally it is sculptural, corporeal and gender specific when identified in the body. Neither Khan-Dossos nor Heather Ross are tethered to any of these three specific materials, nor their multiple readings. Rather they are things to be moved through, pulped, reconstituted, allowed to combust. The cellular exists in their screens, veils, and transparencies. It is as viscose as it is digital. It is formal; it is funny.There are similar formal concerns in their two practices, that come to the fore in this proposed two-woman show, which acts as a prism through which they engage each others’ work incisively.
‘I’m With Anthony’ is a cycle of images that have gone through so many processes, we almost struggle to find their origins. Pages taken from a notebook containing artworks in the private collection of Anthony D’offay have been partially effaced under grids painted on their reverse, then photographed as transparencies, which have finally been printed and sealed into laminating plastic. There is a petrifying process going on, but instead of turning to monumental stone, these famous art images are sealing themselves in a vaccuum-packed outer skin.
‘Everything and Nothing’ is a film work that explores the screen like a reel of film; a never ending sequence that degrades over time but also upgrades as an evermore complex patina of sound a colour develop. Ross’s films are constructed from handmade sets and screens that are filmed, juxtaposed and processed, and stand between the digital and the analog.