Szuper Gallery materials

A portfolio of prints, books and catalogues by Szuper Gallery exhibited at this group exhibition.

Conical sedimentary structures, trace fossils or not? Observations, experiments, and review

Conical sedimentary structures are widespread in the geological column. Those that are mediated by organisms (or organic matter) can be attributed to seven principal processes, which are investigated by experiment and/or field observations: (1) sand collapse into a cavity (decomposed body, open shaft, or gallery), (2) upward (escape) or downward locomotion by an organism through the sediment, (3) upward adjustment (equilibration), (4) casting of coelenterates' excavations, (5) organism-mediated soft-sediment deformation in heterolithic sediment, (6) biodeformational small and large excavations by organisms, and (7) fluid (gas or liquid) escape structures. Footprint loading may also be included. Criteria are given to distinguish between these processes. Dewatering pipes are best recognized by a zone of deformed and fluidized sediment at the base, and association with non-life (lethal) facies. Care must be used in assigning specimens to ichnotaxa, and it is generally necessary to slab, and also to carry out stratinomic investigation in the field.

Neolithic woodland composition and exploitation in the Southern Levant: a comparison between archaeobotanical remains from WF16 and present day woodland at Hammam Adethni

Excavations at the Pre-Pottery Neolithic site of WF16 in the Southern Levant produced an archaeobotanical assemblage constituted by plant macro-fossils and wood charcoal. As with all such assemblages, its species composition will most likely provide a biased reflection of those within the Neolithic woodland that had been exploited owing to cultural selection and differential preservation. As a means of facilitating its interpretation, a survey was undertaken of a relatively undisturbed patch of gallery woodland associated with a permanent water course at Hammam Adethni, approximately four kilometres south-east of WF16. The substantial overlap of the species within this woodland and those in the archaeobotanical assemblage suggests that this present-day woodland provides an analogue for that of the Neolithic and may therefore indicate what other plant resources the inhabitants of WF16 may have exploited, but which have left no archaeological trace. The interpretation of the results is supported by a comparative study of wood charcoal from present-day Bedouin hearths in Wadi Faynan.

The Dark Monarch: magic and modernity in British art

This major curated exhibition, publication and events builds on Rowlands’ curatorial research. Working in collaboration with co-curators Martin Clark, Artistic Director, Tate St Ives and Michael Bracewell, cultural historian, the exhibition sought to explore new narratives within British art. The innovative curatorial methodology developed from a fiction found in the infamous novel, The Dark Monarch by Sven Berlin, Gallery Press 1962. The research sought specific archival and collection work that allowed thematic strands to emerge that represented influences across generations. The exhibition features two-hundred artworks, from the Tate Collection, archives and other significant British public and private collections. It examines the development of early Modernism, in the UK, as well as the reappearance of esoteric and arcane references in a significant strand of contemporary art practice. Historical works from Samuel Palmer, Graham Sutherland, Henry Moore and Paul Nash are shown alongside contemporary artists including Derek Jarman, Cerith Wyn Evans, Eva Rothschild, Linder and John Russell. The exhibition includes a key work by Damien Hirst ¬ the first time he has been shown at Tate St Ives and a number of contemporary commissions. The Dark Monarch publication extended the discourse of the research critically examining the tension between progressive modernity and romantic knowledge, the book focuses on the way that artworks are encoded with various histories - geological, mythical and magical. Essays examine magic as a counterpoint to modernity’s transparency and rational progress, but also draw out the links modernity has with notions such as fetishism, mana, totem, and the taboo. Often viewed as counter to Modernism, this collection of essays suggest that these products of illusion and delusion in fact belong to modernity. Drawing together 15 different writers commissioned to explore magic as a counterpoint of liberal understanding of modernity, drawing out links that modernity has with notions of fetish, taboo and occult philosophy. Including essays by Marina Warner, Ilsa Colsell, Philip Hoare, Chris Stephens, Jennifer Higgie and Morrissey.

Taxonomical musings

In the ‘Object as Subject’ exhibition held at the Stephen Lawrence Gallery, Greenwich University, myself and two other artists showed work which explores the use of the ‘found object’ in their respective practices. My work was selected by the gallery curator David Waterworth. The work exhibited by me, two multi-media pieces and two films, continues my (practice as research) investigation into using everyday objects as starting points for creating work in a variety of mediums including: sculpture, films, installations and multiples. In this work I address a range of subject matters – philosophical, social and cultural. The history of the use of found object in art began in early 20th century European art when Marcel Duchamp and Pablo Picasso independently introduced everyday objects into their practice. My work continues this research.