Charlotte Moth

Sculpture made to be filmed, 2012
6 wooden light boxes, each 99 x 71 x 32 cm, 286 colored bulbs
behind: Untitled (Figtree), 2008 b/w digital print, 63 x 43 cm, slide projector with interval timer, 81 individually colored slides with Lee filters
image © Centre d’Art Contemporain Genève

-

-

Proximity – Proposition at Lavomatic, St Ouen, France, 2011
Model of Patinoire, St Ouen, Architect Paul Chemetov, 1975: bolsor wood, foam sheet
66cms width x 76cms length x 37cms height

-

-

Study for a 16mm film, 2011
16mm film digitally transfered, 11 min 28
collection Serralves Foundation, Porto

-

-

to see the things amongst which we live (5), 2012
black and white analogue photograph, 41,5 x 60 cm

-

to see the things amongst which we live (2), 2012
black and white analogue photograph, 41, 5 x 60 cm

-

-

from Light studies: objects, architecture, 2011

-

-

Book Installation, 2011
56 pages presented on a cork alining
exhibition view at Centre d’Art Contemporain, Genève, July 2012
image © Centre d’Art Contemporain Genève

-

-

detail from Noting Thoughts, 2011
7 tables, 1,2 x 2 x 0,9 m, welded stell frames, 12 mm sheet plywood, 5 mm sheet glass, assorted colored Lee filters
images A5, A4, A3 mounted on folded aluminium sheets 3 mm thickness
text (used in fragmented form in installation) Alice D. Peinado ‘‘Continuous Trajectories – Broken Utopias’’
exhibition view at Centre d’Art Contemporain, Geneva, July 2012
photo © wfw

-

-

detail from Noting Thoughts, 2011
7 tables, 1,2 x 2 x 0,9 m, welded stell frames, 12 mm sheet plywood, 5 mm sheet glass, assorted colored Lee filters
images A5, A4, A3 mounted on folded aluminium sheets 3 mm thickness
text (used in fragmented form in installation) Alice D. Peinado ‘‘Continuous Trajectories – Broken Utopias’’
exhibition view at Centre d’Art Contemporain, Geneva, July 2012
photo © wfw

-

-

detail from Noting Thoughts, 2011
7 tables, 1,2 x 2 x 0,9 m, welded stell frames, 12 mm sheet plywood, 5 mm sheet glass, assorted colored Lee filters
images A5, A4, A3 mounted on folded aluminium sheets 3 mm thickness
text (used in fragmented form in installation) Alice D. Peinado ‘‘Continuous Trajectories – Broken Utopias’’
exhibition view at Centre d’Art Contemporain, Geneva, July 2012
photo © wfw

-

-

detail from Noting Thoughts, 2011
7 tables, 1,2 x 2 x 0,9 m, welded stell frames, 12 mm sheet plywood, 5 mm sheet glass, assorted colored Lee filters
images A5, A4, A3 mounted on folded aluminium sheets 3 mm thickness
text (used in fragmented form in installation) Alice D. Peinado ‘‘Continuous Trajectories – Broken Utopias’’
exhibition view at Centre d’Art Contemporain, Geneva, July 2012
photo © wfw

-

-

Noting Thoughts, 2011
7 tables, 1,2 x 2 x 0,9 m, welded stell frames, 12 mm sheet plywood, 5 mm sheet glass, assorted colored Lee filters
images A5, A4, A3 mounted on folded aluminium sheets 3 mm thickness
text (used in fragmented form in installation) Alice D. Peinado ‘‘Continuous Trajectories – Broken Utopias’’
exhibition view at Centre d’Art Contemporain, Geneva, July 2012
photo © wfw

-

-

Noting Thoughts, 2011
7 tables, 1,2 x 2 x 0,9 m, welded stell frames, 12 mm sheet plywood, 5 mm sheet glass, assorted colored Lee filters
images A5, A4, A3 mounted on folded aluminium sheets 3 mm thickness
text (used in fragmented form in installation) Alice D. Peinado ‘‘Continuous Trajectories – Broken Utopias’’
exhibition view at Centre d’Art Contemporain, Geneva, July 2012
photo © wfw

All works : courtesy the artist and Marcelle Alix

-

The work of Paris-based British artist CHARLOTTE MOTH is essentially photographic, but it grows out of sculpture, architecture and cinema. This complex body of work explores notions of site, object, space, light and architecture in a relationship between research and looking, where research becomes work and work becomes research.

I’m very interested in a sculptural relationship to experience. An image can later function as an aid to memory, it becomes a hybrid, and something perhaps better described as an image-memory. When I was in art school I was taking a lot of photographs, and for me that acted as a way of studying things, trying to learn what was around me. I was absolutely fascinated by the structural forms of architecture––all types––and using it as a way to think about how to generate work. This habit of taking photographs became very accumulative and naturally charted a kind of itinerancy or movement in space and place. - as told to SHERMAN SAM

Since 1999, she has worked on the Travelogue, a collection of photographs that she constantly updates. Her discovery of pictures that were taken by RAOUL HAUSMANN in Ibiza in the 1930s became the basis of this work.

She became interested in how research could exist as a form of practice. The activity of developing a long term collection contained a form of longevity, a relativity of speed and slowness that could develop on parallel levels, through the build up of images, sites and through the development of research on a conceptual level. Fragmentary in nature, this archive remains open in its possible extensions and also in its usage. It is constantly revisited by the artist for exhibition and also offered for a dialogue with third parties.

I really wanted to make a transition in space and time by using these tables to lay my photos on; they create a sort of horizon in the space. You’re walking around them and they become islands. You could read the layout as a narrative, but it’s very segmented––more like a three-dimensional book, as the images are mounted on folded metal sheets.

And good news: the first major solo exhibition by CHARLOTTE MOTH entitled Ce qui est nouveau est toujours fragile is currently on view at the Centre d’Art Contemporain in Geneva until August 12, 2012.

CHARLOTTE MOTH was born in 1978 in Carshalton (UK) and lives in Paris since 2007.
She first studied Fine Arts at UCCA, Canterbury, then sculpture at the Slade School of
Art in London, before completing her training at the Jan van Eyck in Maastrich.
After residences at the Palais de Tokyo in Paris (2007- 2008) and Serralves Foundation
in Porto (2011), she is in 2012 at Fieldwork Marfa, Texas, and then Schloss Solitude,
Stuttgart. She held solo shows – among others – at Araújo Porto Institute, Porto, at the
gallery Carlier Gebauer, Berlin, at the Musée départemental d’art contemporain in
Rochechouart, at Pied-à-Terre, San Francisco, at the Lavomatic, Saint-Ouen, and at the
Halle für Kunst, Lüneburg.


_
Laissez un commentaire