Bending Light
A Wave...


A Wave Looks
The Same
From Above
And Below


Harriet Bowman
Calum Crawford
Joshua Johnson

Curated by Charlotte Cousins
Online Curation by Will Kendrick
Text by Trevor H. Smith



As Far as the Archives Can See.

The world stops again and watches itself watching a breach in the seamless surface of a world of equal access and ability to reproduce. What else is there but to record and store? Where else to look but back
at ourselves?

In a world of balloon-enabled connectivity and donkey-driven solar panel-powered water purification units, our product is our progress.

The couple on the beach turns to
face the setting sun. Each with one arm raised they capture the moment forever. A thousand years later that sunset has become a landmark;
the rocks a monument to a moment
in time that was never really a
moment at all.

The trees remain. And the image’s unbroken reign stretches back as far as the archives can see.

A watermarked photograph of a 3D printed copyright symbol is undone by a screenshot, a copy and paste, and a picture of a repost of a blog about a tweet about a tweet about copyright and then it’s lost.

Are they crease-marks on the screen?

We build that we may continue to call ourselves builders, and we store that we may recall how we built, from Egypt to Lasceaux, in formats that neither human nor artificial brain could ever fathom.

A wave looks the same from above and below.

What’s yours is mine.

—Trevor H. Smith

Home Platform Presents A Wave Looks the Same from Above and Below

Connecting; repeating; absorbing. Our visual relationships are clearly changing. We are building a series of facades fueled by material choice.

We are being subtly mocked; our choices are directed with worryingly little choice. Living a false relationship built from empty materials and stock imagery. Even our own images-once posted-are both individually personal and infinitely multiplied.

As people, places and objects are ever closer, they become more malleable. The facade becomes greater. We are in fact closed in.The stream of information is rolling and ceaseless, carefully selected by those
  in control. Promotion of information now depends upon commerce over real importance. As our knowledge of this tool changes and sceptisism grows, it inevitably breeds cynicism, within the ever growing sea of information.

We are willing to seamlessly immerse ourselves, yet there’s a feeling; as if you’re catching your fingertips upon a surface...like rough hands over satin.

The artists selected for Home-Platforms second installment are all responding to this in some way; a pairing of feeling willing yet simultaneously disenchanted.

Harriet Bowman takes the potential of constructing clean objects and prints mirroring this sided relationship. Founded upon our strange admiration
formed between copy and original. Often exploring a fascination in the relationship between product and surface, to create outcomes with a smooth and sleek finish.

While Joshua Johnson’s often sculptural works subtly pick apart themes from social utopianism with the certainty of a modernist aesthetic. Delicately condensing and concentrating his concerns into poetic objects, seemingly functional and rendered inactive yet beautifully weighted with the narrative of their potential.

Finally with Callum Crawford we see the absorption, repetition through a means of collection of imagery and footage, often result in a romantic but dark
vision of popular culture.


Not shying away from a fascination with the products of production, with their blunt nature and incidental humour its hard not to find your own guilty pleasure within.

As time progresses and as our awareness seems to change, despite growing cynisism, it seems that we are all willing to accept a multitude of flaws and continue with our use of our most magnetic tool.

--Charlotte Cousins



Home-Platform is a curatorial research
platform examining the relative positions of object | image | gallery.




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