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STRANGELANDS - Walk and Talk with Curator Rosalind Davis and ArtTop10.com Founder Robert Dunt

Subscribe and Give Art Back to the People :: http://bit.ly/2vfN3ZQ A review of Strangelands at the Collyer Bristow Gallery. Robert Dunt the Founder of ArtTop10.com reviews the show and interviews the curator Rosalind Davis. The artist Justin Hibbs also discusses his work that features in the show. This is the YouTube channel of the website ArtTop10.com which is a leading resource for the art world, focusing on reviewing art exhibitions and art fairs and interviewing artists. Up until now our reviews have been text and image based, but we're now moving into filmed reviews. You can see the text based reviews at www.ArtTop10.com ArtTop10.com was founded in 2011 by the artist Robert Dunt. www.robertdunt.com Follow us on Twitter ::   / arttop10   Follow us on Instagram ::   / arttop10   PRESS RELEASE: StrangeLands opens with the story of the Afronauts depicted by Cristina de Middel of a reimagining of the true story of a Zambian science teacher named Edwuard Makuka who in 1964 decided to train the first African crew to travel to the moon. His plan was to use an aluminium rocket to send a woman, two cats and a missionary into Space. First the moon, then Mars, using a catapult system. He founded the Zambia National Academy of Science, Space Research and Astronomical Research to start training his Afronauts at his headquarters. Other landings are evidenced by Richard Ducker’s abstract, meteorite-like sculptures suggesting an anthropomorphised alien form; staged pre-CGI props of displacement, desire and a loss of confidence in the present. Illusions continue in Gibson / Martelli's world of virtual reality — their piece ‘Golem (mudman)' refers to the ancient Jewish mythical creature, magically animated from clay, a digital image compiled from hundreds of screenshots created by 3d software, emerging from the process of moulding an avatar. ‘Golem' exists somewhere between a figure and a landscape. Ben Cove’s practice is grounded in a different kind of mythology; that of Modernist practices. Questioning of singular positioning, his work examines the interrelationship and interdependence between the object and the image, physicality and ideology, abstraction and representation, brashness and sobriety, construction and collapse. The language of high Modernist Abstraction continues in Nick Dawes’ work: he appropriates colour and text from the Highway Code. Referring to the reality of today’s world where words and images are constantly in transit, Dawes questions the allegiance between pure fact and its displacement, collapsing the relationship between image and text, while simultaneously enabling content and the historical languages of the medium to reconfigure it inventively. Justin Hibbs’ recent works Dis-united States investigates the ruptures of distorted and fractured spaces. Hibbs took as a starting point The Guardian newspaper’s red striped graphics accompanying its coverage the day after the US election in 2017. Reconfiguring these motifs on to antique 18th century paper references a dislocation in time representing a glitched and unrecognisable future. Introducing ideas of illusion and the blurring of 2 and 3-dimensional realms, Richard Perry’s sculptures look at the possibility of the object as both a factual and an implied presence. Dylan Shipton’s vision is of an idealized, if dilapidated, world - his ‘Tower’ piece is a glimpse at a new society which is restricted neither by aesthetics, nor by political and social values. Made from remnants and left-overs, it proposes a provisional and humanistic world view. Freddie Robins’ works investigate the pertinent contemporary issues of the domestic and gender and express the human condition - themes of violence, fear, pain and loss are manifest. A sense of violence is prevalent in Michael Calver’s works which are recollections of both real and imagined dystopian events in urban spaces, in which at any time, in any place, disaster can leap upon us. Emma Cousin’s painting Hybrid ‘plays with ideas of vulnerability and questioning one’s sense of self and autonomy. Elements of human, animalistic and inanimate features overwhelm the canvas, and the viewer is left wondering about what kind of ‘hybrid’ we are.