Sorcha Dallas

Fiona Jardine

Following on from her professional interest in the connections and concurrencies between instances and imagery, substance and form in the work of Rabelais, T.S Eliot, Bret Easton Ellis, Fiona Jardine has formulated a new and specific group of sculptures for this exhibition at Transmission. The sculptures make liberal and loose references to Classical and arcane architectural features: a pair of funeral facades have been designed with allusions to Wall Street Boardrooms and ancient portals, (in particular to the fa?ßade of the ‘Midas Monument’, an Anatolian tomb chamber dating from the 9th or 8th century B.C); a collection of extruded columns seemingly take their form from an organisation of mollified entrails, arsepipes and larries, belaying their Gargantuan origins. Resonant with their rude craft, hi-gloss and leathery, their presence in the gallery sets off an uneasy limbo, neither interior or exterior, neither now nor then, and acts as a foil for the paintings on show.

Will Daniels

Will Daniels’ small-scale paintings are derived from paper models and lo-fi Marquette’s of famous historical paintings. The paintings reflect each detail of the model’s cuts, tears and folds, lending a solidity and permanence to the otherwise throwaway ephemeral materials used to construct each Marquette. In past works Daniels’ has re-interpreted pre-twentieth century masterpieces including The Abbey and the Oak Wood by Casper David Freidrich, The incredulity of St.Thomas by Caravaggio and Raphael’s The Resurrection, while his most recent work looks at more contemporary references such as landscapes by Cezanne and Baselitz. Daniels’ slow process of working from reproductions seems to deliberately play with traditions of painting and the notion of the artist present before his subject.

Exhibition Opens 14th April 2006 Exhibition runs 18th April-13th May, Tues-Sat, 11-5pm