http://www.iavor.co.uk www.iavor.co.uk Thu, 05 May 2011 16:07:26 +0000 http://www.iavor.co.uk en http://www.iavor.co.uk/Anneliese-and-I http://www.iavor.co.uk/following/iavor.co.uk/Anneliese-and-I Thu, 05 May 2011 16:07:26 +0000 www.iavor.co.uk 1402748 'Anneliese and I' paper and laminate 2006 120x30cm This was a work I undertook specifically for a residency and exhibition at Jeremy Higginbotham’s in Berlin in October 2006. It was made in the early days after my Fine Art BA and was something of a departure from the material and thematic preoccupations of my work since then. The representational element is unusual for me and shows that I was thinking more about technique than subject-matter at the time, although I did vaguely have Marc Chagal’s ‘Birthday’ in mind when I began to compose the two figures. I used scalpels to fine-cut the image from a 1.5 by 0.5 metre sheet of laminating foil bought from a High-Street stationery shop. I then applied the laminate by hand to a sheet of Fabriano paper. The effect is somewhat like commercial spot-glossing and it is easy to mistake it for a print at first glance. However, the glue of the underside is exposed around the cut edges and on closer observation one begins to see air-dust particles stuck to the outline, as well as all the other minuscule imperfections attendant on the manual process. The figurative image is typically invisible or partly-visible and emerges from the sheer white of its background as the light changes, or as the viewer walks around it. It is almost impossible to see the image in full and it only happens fleetingly through a rare coincidence of light and viewer-position. The thematic contrast of exhibitionism and timidity was a deliberate interpretation of my relationship at the time. The work is very fragile and will most likely degrade and change its tone with time. Its very nature precludes framing and so it can only exist for a little while longer – perhaps another 15 or 20 years, depending on light and care. 'Anneliese and I' was first shown at Jeremy Higginbotham's in Berlin in October 2006 and then at 'Works on Paper' at the Bulgarian Embassy the following year. http://www.iavor.co.uk/Tryptich-2-2 http://www.iavor.co.uk/following/iavor.co.uk/Tryptich-2-2 Thu, 05 May 2011 14:27:21 +0000 www.iavor.co.uk 1402375 Tryptich #2.2 Digital Animation 2007 This is a digital animation assembled pixel by pixel from the film used to create the sculpture 'In Hind Sight'. I wrote JavaScript code to unravel the pixels of the original film and reassemble them as if a flat, rotating plane picks out new film-stills inside the 3-dimensional bulk of the old. The resulting film essentially further develops basic ideas such as bullet time and 90-degree time. By treating the collection of 2-dimensional stills comprising the original film (at 24fps) as a 3-d object (where time constitutes the 3-rd dimension), it is possible to curve and twist time itself and see the result as a new moving image. Impossible to achieve without computational power, here, simple notions of the wholeness of space-time can be seen coming to life. Time is just another dimension after all. The work was first shown at 'Artists For 2012' at the 491 Gallery in 2007, then once more as part of 'All Hail' at Angus-Hughes Gallery in 2011. Installation view at Angus-Hughes Gallery (Photograph by Sarah Wyld) <img src="http://payload.cargocollective.com/1/2/66549/1402375/11 - 029 low res.jpg" border="0" width="670" height="1004" width_o="1424" height_o="2136" src_o="http://payload.cargocollective.com/1/2/66549/1402375/11 - 029 low res_o.jpg" align="left" /> http://www.iavor.co.uk/O100 http://www.iavor.co.uk/following/iavor.co.uk/O100 Tue, 12 Apr 2011 23:43:25 +0000 www.iavor.co.uk 946219 O100 2006 paper 32x42x3 cm (framed) O100 was my first paper cutting project in 2006. It started life as an 80 sheet A3 artist’s sketch pad and was an experiment of translation between motion and sculpture. Unlike the later, ‘In Hind Sight’, which started as filmed moving objects, here the sculpture was cut out first and the individual pages were later turned into video using stop motion photography animation. The various geometrical shapes are based on circles and rectangles which travel or rotate and change size with each page according to a variety of mathematical formulae. There are also some experimental free-hand shapes, which are not bound to the usual connected and smooth properties of observable motion in time (e.g. the tree-like shape in the lower right-hand side). The work was shown in the first pop-up exhibition I organised after leaving my Fine Art BA, in a disused office space in Wandsworth. The sketchpad was displayed on a director's music stand. An animation made from photographs of the pages of the sculpture was projected onto the cover opposite the sculptural element of the sketchpad. The intention of the work was to extract the time-element inherent in a solid shape, through slicing and interchange of dimensions. After exhibiting the work in several shows, in 2009 I extracted the pages of the sculpture from the binding and framed them in order to conserve this otherwise fragile sculpture. The video of the animation is now presented as a separate work. Detail of the cutting: <img src="http://payload.cargocollective.com/1/2/66549/946219/O100 detail.jpg" border="0" width="670" height="1005" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/2/66549/946219/O100 detail_o.jpg" align="left" /> Framed (since 2009): <img src="http://payload.cargocollective.com/1/2/66549/946219/O100.jpg" border="0" width="670" height="1005" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/2/66549/946219/O100_o.jpg" align="left" /> Installation view (with video projection on cover page) at 'Push', Pop-up show in Wandsworth, 2006:<img src="http://payload.cargocollective.com/1/2/66549/946219/Image 12 -O100-- 2006- variable- A3 sketch pad and projection (installation view) .jpg" border="0" width="670" height="947" width_o="2048" height_o="2896" src_o="http://payload.cargocollective.com/1/2/66549/946219/Image 12 -O100-- 2006- variable- A3 sketch pad and projection (installation view) _o.jpg" align="left" /> Installation view at 'Works on Paper' in 2007: <img src="http://payload.cargocollective.com/1/2/66549/946219/DSCF0104.jpg" border="0" width="670" height="891" width_o="2048" height_o="2725" src_o="http://payload.cargocollective.com/1/2/66549/946219/DSCF0104_o.jpg" align="left" /> http://www.iavor.co.uk/Schema-for-a-New-Grid-System-Liverpool http://www.iavor.co.uk/following/iavor.co.uk/Schema-for-a-New-Grid-System-Liverpool Tue, 12 Apr 2011 23:31:08 +0000 www.iavor.co.uk 1301676 <img src="http://payload.cargocollective.com/1/2/66549/1301676/aIavor Lubomirov 2_1.jpg" border="0" width="670" height="501" width_o="1335" height_o="1000" src_o="http://payload.cargocollective.com/1/2/66549/1301676/aIavor Lubomirov 2_1_o.jpg" align="left" /> Schema for a New Grid System (Liverpool) 2008 graph paper 45x55x3 cm (framed) Schema for a New Grid System (Liverpool) was the second in a series of three graph-paper based works which I began towards the end of 2007 and worked on for the next two years. Like the first (see Schema for a New Grid System), it was about repeated, embedded patterns (the printed grids on each page of the graph pad) used to create an overarching pattern over hand-cut sculptural elements. I cut a simpler and smaller grid of cylinders into an A3 graph pad, which this time became part of an installation at an exhibition in Liverpool in 2008. In the gallery, the work was placed on a small white desk, into which a rectangular hole was cut, very slightly larger than the grid in the pad. Thus, when a viewer sat down to examine the graph pad, they were able to see their own legs through it and through the desk. The work literally opened a window into a reality - not an alternative one - but, unexpectedly, this one. The work has since been framed in order to preserve an otherwise fragile object. It has been shown as a framed piece at the Peckham Space Open in 2010. Installation view, 2008, at CCP Car Park Gallery in Liverpool, daytime: <img src="http://payload.cargocollective.com/1/2/66549/1301676/Iavor 11.JPG" border="0" width="670" height="445" width_o="2048" height_o="1361" src_o="http://payload.cargocollective.com/1/2/66549/1301676/Iavor 11_o.JPG" align="left" /> Installation view (detail) through grid and hole in the desk: <img src="http://payload.cargocollective.com/1/2/66549/1301676/Iavor 05B.JPG" border="0" width="670" height="445" width_o="2048" height_o="1361" src_o="http://payload.cargocollective.com/1/2/66549/1301676/Iavor 05B_o.JPG" align="left" /> Installation view, at CCP Car Park Gallery, night-time: <img src="http://payload.cargocollective.com/1/2/66549/1301676/DSC_5658.JPG" border="0" width="670" height="445" width_o="2048" height_o="1361" src_o="http://payload.cargocollective.com/1/2/66549/1301676/DSC_5658_o.JPG" align="left" /> http://www.iavor.co.uk/Schema-for-a-New-Grid-System http://www.iavor.co.uk/following/iavor.co.uk/Schema-for-a-New-Grid-System Tue, 12 Apr 2011 23:12:18 +0000 www.iavor.co.uk 1301600 <img src="http://payload.cargocollective.com/1/2/66549/1301600/IMG_0084_6.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/2/66549/1301600/IMG_0084_6_o.JPG" align="left" /> Schema for a New Grid System 2007 - 2008 graph paper 29.7 × 42cm (unframed) Schema for a New Grid System is the first in a series of three graph paper pieces. It takes as its departure point visual ideas about the way gravity lines may wrap around small curved dimensions (other than the four of space-time). I cut 3-d cylindrical grid patterns into an A3 pad of graph paper to observe the way that the graph lines printed on each sheet wrap themselves around these. The illusion is of a single printed graph grid which curves itself around the sculptural shapes embedded in the pad. Each page of the pad was minutely cut by hand, using fresh scalpels and working to a 0.1-0.2mm degree of accuracy. It was created over the space of about a year and became an exercise in precision. The finished object was shown at 'Fresh Air Machine' at Calvert 22 in 2008, on a 1.4m plinth with an A3 cross-section. It is currently kept in an archival box in a private collection. <img src="http://payload.cargocollective.com/1/2/66549/1301600/IMG_0083_5.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/2/66549/1301600/IMG_0083_5_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/2/66549/1301600/IMG_0086_7.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/2/66549/1301600/IMG_0086_7_o.JPG" align="left" /> Installation view at Calvert 22, 2008: <img src="http://payload.cargocollective.com/1/2/66549/1301600/23092008174.jpg" border="0" width="670" height="893" width_o="1944" height_o="2592" src_o="http://payload.cargocollective.com/1/2/66549/1301600/23092008174_o.jpg" align="left" /> http://www.iavor.co.uk/In-Hind-Sight http://www.iavor.co.uk/following/iavor.co.uk/In-Hind-Sight Fri, 14 Jan 2011 15:45:19 +0000 www.iavor.co.uk 937456 <img src="http://payload.cargocollective.com/1/2/66549/937456/Image 03 -In Hind Sight- 2007-9- 13x17x25cm.jpg" border="0" width="670" height="473" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/66549/937456/Image 03 -In Hind Sight- 2007-9- 13x17x25cm_o.jpg" align="left" /> In Hind Sight Fabriano Watercolour Paper 2006-2009 ‘In Hind Sight’ considers objects in 4-D space (3-D space with time) and tries to show them from a new visual perspective. Its starting point is a video of a 34 second movement performed by two artists in an empty space and filmed at 25fps. The video was decomposed into 850 individual stills, each was cut out of paper and the whole was then assembled. Because each photograph of a moment in time squashes the two 3-D objects (persons) into a 2-D image, a dimension is freed, allowing time to be represented sculpturally and thus giving an overall view of the people together with their movement from a perspective entirely outside of familiar experience. Choosing to craft the object by hand, rather than machine, adds a further layer of time and process, making the work more personal and experiential in contrast to its formal conceptual framework. Currently the sculpture is framed, or rather suspended, inside a 140x12.8x18cm clear perspex plinth. Before it was completed, the work has been exhibited in the 2007 Summer Exhibition at the Royal Academy (and appeared briefly in a BBC documentary about the Summer Exhibition that year); and 'Fresh Air Machine' at Calvert 22 in 2008. After it was completed, the work was shown at 'Needle and Scalpel' at the pop-up Burntwood Lane Project in 2009; and 'All Hail' at Angus-Hughes Gallery in 2011. <img src="http://payload.cargocollective.com/1/2/66549/937456/Image 04 -In Hind Sight- .JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/2/66549/937456/Image 04 -In Hind Sight- _o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/2/66549/937456/In Hind Sight .jpg" border="0" width="670" height="473" width_o="2048" height_o="1447" src_o="http://payload.cargocollective.com/1/2/66549/937456/In Hind Sight _o.jpg" align="left" /> Installation view at Calvert 22 <img src="http://payload.cargocollective.com/1/2/66549/937456/23092008176.jpg" border="0" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/66549/937456/23092008176_o.jpg" align="left" /> Installation view at Angus-Hughes Gallery (Photograph by Nancy Elser) <img src="http://payload.cargocollective.com/1/2/66549/937456/5698386352_9bc5520dd5_b.jpg" border="0" width="670" height="478" width_o="1024" height_o="732" src_o="http://payload.cargocollective.com/1/2/66549/937456/5698386352_9bc5520dd5_b_o.jpg" align="left" /> Installation view at Angus-Hughes Gallery (Photograph by Sarah Wyld) <img src="http://payload.cargocollective.com/1/2/66549/937456/12 - 033 low res.jpg" border="0" width="670" height="1004" width_o="1424" height_o="2136" src_o="http://payload.cargocollective.com/1/2/66549/937456/12 - 033 low res_o.jpg" align="left" /> Read Tim Pickup's article on Long Exposure artists here: http://timpickup.wordpress.com/ http://www.iavor.co.uk/O1-2-Time-and-Time-Again http://www.iavor.co.uk/following/iavor.co.uk/O1-2-Time-and-Time-Again Fri, 14 Jan 2011 15:33:44 +0000 www.iavor.co.uk 930862 <img src="http://payload.cargocollective.com/1/2/66549/930862/1_Iavor Lubomirov_O1 No.2 (Time and Time Again)_Intaglio Print_30x40cm_2009.jpg" border="0" width="670" height="924" width_o="2048" height_o="2826" src_o="http://payload.cargocollective.com/1/2/66549/930862/1_Iavor Lubomirov_O1 No.2 (Time and Time Again)_Intaglio Print_30x40cm_2009_o.jpg" align="left" /> O1#2 (Time and Time Again) Intaglio Print (Edition of 20) 2008-2010 This work continues the transformation of space begun by ‘In Hind Sight’. It is an intaglio print taken from the cutting mat used to cut out the individual paper components of that sculpture. As each piece of paper was cut, the scalpel blade left a mark on the matt and, as each piece of paper was lined up in exactly the same place on top of the mat, it has become an accurate record of the sculpture. As well as capturing ‘In Hind Sight’ in 2-D, this print is also a record of the process of making the sculpture. It is my ongoing interest in the flattening, expanding and juggling of dimensions that led me to the creation of this print. The cutting matt is a soft and difficult printing plate and the demanding work of creating the prints was undertaken by fellow artist Matt Blackler. The work was first shown at 'Fresh Air Machine' at Calvert 22 in 2008; then at 'Needle and Scalpel' in 2009 and at 'Lubomirov & Batiste' at The Magnificent Basement in 2010. A framed copy is currently on permanent view and available for purchase in the Angus-Hughes Gallery collection. About half the pieces from the edition are currently in private collections. <img src="http://payload.cargocollective.com/1/2/66549/930862/O1-2.jpg" border="0" width="670" height="1005" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/2/66549/930862/O1-2_o.jpg" align="left" /> Installation view at Calvert 22 with 'In Hind Sight', 2008 <img src="http://payload.cargocollective.com/1/2/66549/930862/23092008176.jpg" border="0" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/2/66549/930862/23092008176_o.jpg" align="left" /> http://www.iavor.co.uk/Heliothis-zea http://www.iavor.co.uk/following/iavor.co.uk/Heliothis-zea Fri, 14 Jan 2011 15:33:41 +0000 www.iavor.co.uk 930856 <img src="http://payload.cargocollective.com/1/2/66549/930856/Heliothis.zea (detail) (small).jpg" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/2/66549/930856/Heliothis.zea (detail) (small)_o.jpg" align="left" /> Heliothis.zea 2007-9 graph paper 45x55x3 cm (framed) ‘Heliothis.zea’ is the Latin name of the bookworm moth, which is an intentional double misnomer for this piece (the bookworm moth larvae do not feed on paper). It is the last of a series of three graph-paper works. Heliothis.zea is really about the age-old sculptural fascination of positive versus negative space, or rather the way that the surface of a solid object defines both. Like its predecessors, I cut a sequence of 60 sheets of graph paper to form a grid of solid cylinders. The central upper half of the piece is an empty space where half of the grid appears to have been removed. Inside the grid, a snaking, tube-like shape, was again cut out, using simple trigonometric parametric equations. This negative space appears like dark, moth-eaten, or cigarette-burnt damage. The burns are in fact pencil-outlines made in each sheet, prior to cutting, and constitute a continuous tunnel which weaves continuously around the grid, snaking behind it and then rising to the surface again. The central focus of this piece is intended to be the part of the negative-space tunnel which disappears in the upper part where the grid is absent. The classical notion that a sculpture is already contained in the material is here extended by suggesting that the negative space inside a sculpture is already contained in emptiness. The work was framed on completion, using conservation materials, in an identical frame to 'Schema for a New Grid System (Liverpool)'. The two pieces form a pair and have been exhibited as such in The Magnificent Basement and at the first Peckham Space Open in 2010. <img src="http://payload.cargocollective.com/1/2/66549/930856/Heliothis.zea (small).jpg" border="0" width="670" height="1004" width_o="1424" height_o="2136" src_o="http://payload.cargocollective.com/1/2/66549/930856/Heliothis.zea (small)_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/66549/930856/Heliothis.zea.jpg" border="0" width="670" height="1005" width_o="2048" height_o="3072" src_o="http://payload.cargocollective.com/1/2/66549/930856/Heliothis.zea_o.jpg" align="left" />