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Matthew Tickle: Onboard Marlow 26–28 April 2013 | Hyper Passive, In Camera, Shock 7 September–2 October 2005 | What the eye canít see the heart canít grieve for 8 February–21 March 2004 | Idyll 15 September–14 November 1999 | Conversion (BACKSPACE) 18–22 November 1998 | Scrutiny 21 June–13 August 1995 | Publications | Artist’s Website



Fiona Crisp, Matthew Tickle, Phillip Warnell | Hyper Passive, In Camera, Shock, 2005

Matthew Tickle, In Camera , 2005 (installation view)

Matthew Tickle, In Camera , 2005 (installation view)

Matthew Tickle, In Camera, 2005 (installation view)

Press Information
Working primarily with photographic or videographic equipment, the three artists exhibiting together at Matt’s Gallery will be installing works which explore the mechanisms of the camera and play on the relationship between camera, light, space and time in the production of an image.

Fiona Crisp’s four photographs, taken from three different current series’, are presented in this exhibition under the title Hyper Passive. The photographs work together to problematise the presence of light, containing either an excess of light, or too little, or creating an uncomfortably indeterminate relation between interior and exterior space. Crisp states ‘I am not interested in presenting the world coalesced into a dynamic visual image – either staged or documentary. I want to create a hiatus, suspended from space and time and yet absolutely bound by space and time – an impossible space.’

For his third exhibition at Matt’s Gallery, Matthew Tickle continues to explore the indeterminacies of perception and illumination. Using a Geiger counter to trigger the projection of an image, Tickle’s In Camera allows the moment of revelation to occur entirely randomly, both artist and viewer dependent upon an imperceptible change in the environment to create the conditions for viewing. This configuration of elements reflects the subject of Tickle’s photograph and text, which reveal a collision of the seemingly random and the
significant.

Phillip Warnell’s Shock is a dual-screen video work which offers the viewer an opportunity to witness the de-stabilisation of a portrait of the body. Each sequence, set in a green-screen environment, shows a digitally composed couple caught in a technologically mediated intensification of a reflex reaction; a one second event that, once mediated using a high-speed technological eye, becomes a forty-second playback sequence.

The construction of the space for this exhibition was supported by The Henry Moore Foundation. The production of Fiona Crisp's work for this exhibition was financially supported by Arts Council England, North East. Phillip Warnell's Shock was commissioned by FuturePhysical & Arts Council England, East, 2003. For further information and visual material please contact the gallery.

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Biography
Born London 1964, British. Lives and works in London Studied 1989–90 Slade School of Fine Art, London (Postgraduate Higher Diploma in Sculpture) and 1987–89 West Surrey College of Art and Design (BA (Hons) Sculpture) Solo Exhibitions 2006 Punctum and Nebula, Hull Art Lab, Hull 2004 Nothing will come of nothing, Wolsey Art Gallery, Ipswich; Semi-Rhythm, Whitechapel Project Space, London; What the eye canít see the heart canít grieve for, a temporary public artwork at Queen Mary, University of London 1999 Idyll, Mattís Gallery, London 1995 Scrutiny, Matt’s Gallery, London Group Exhibitions 2005 Fiona Crisp, Matthew Tickle, Phillip Warnell, Matt’s Gallery, London 2003 Revision, Pitfield Street, London; Donít start from the good old things but the bad new ones, Whitechapel Project Space, London 2002 The Green Room, Percy Miller Gallery, London 2001 Dead-wall Reverie, Five Years, London, curated by Valerie Sutton 2000 Tourist, site-specific project commissioned by Space Explorations, London [catalogue] 1998/99 Furniture, Richard Salmon Gallery, London, John Hansard, Southampton and Bluecoat Art Centre, Liverpool [catalogue] 1998 BACKSPACE, Matt’s Gallery, London 1997 In Residence, In Transit, The Stanley Picker Gallery for the Arts, Kingston University 1996/7 Plastic, Richard Salmon Gallery, London; Arnolfini, Bristol; Walsall Museum & Art Gallery, Walsall [catalogue] 1996 High Rise, Space Explorations at 110 Euston Road, London [catalogue] 1995 Animale Domestici, Hollandstraat 20, Antwerp 1994 Tight, The Tannery, London; 1 million cubic feet, Space Explorations, Holborn Old Town Hall 1993 Mehr Licht (with Marcus Eisenmann), Goethe Institute, London; Hull Town Dock Museum as part of the Hull Sculpture Symposium 1992 Public installation at the Electric Light Station, presented by Space Explorations 1990 Work commissioned by the Whitechapel Art Gallery, London as part of ĎWhitechapel Artists Awards 1990í; Public installation at the Old Royal Observatory, London, presented by Space Explorations; Public installation at the British Rail Arch, Beck Road, London, presented by Space Explorations Scholarships, awards and residencies 2004 Cocheme Fellowship, Byam Shaw 2002 ESPRC Engineering and Physical Sciences Research Grant 2001 Calouste Gulbenkien Foundation Research Grant 2000 LAB Visual Arts Fund: Artists 1995 Arts Foundation Fellowship 1994 Rachel Whiteread / K Foundation Award 1991 Whitechapel Artistsí Award 1989/90 The Picker Fellowship in Sculpture at Kingston Polytechnic 1989 Boise Travel Scholarship Teaching (part-time) since 1993 includes MA Art & Architecture, University of East London; MFA Sculpture, Slade, University College London; BA Fine Art, Middlesex University; BA Fine Art, Ruskin School, University of Oxford; BA Fine Art, Norwich School of Art; Wimbledon School of Art, University of the Arts, London



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Bibliography
2005 Fiona Crisp, Matthew Tickle, Phillip Warnell, Helen Sumpter, Time Out, issue 1831, 21-28 December; Fiona Crisp/Matthew Tickle/Phillip Warnell, Sarah James, Art Monthly, issue 290, October; Lighting up the background, Colin Martin, nature magazine, issue 437, 6 October 2005 Matthew Tickle, Sally O’Reilly, Art Monthly, Issue 274, March; Just sugaring the pill?, Miria Swain, Mute, issue 27, Winter/ Spring 2000 Matthew Tickle/ Matt’s Gallery, Catherine O’Shea, What’s On, 3 November ; Matthew Tickle at Matt’s Gallery, James Hall, Artforum, January; Matthew Tickle at Matt’s, Janet Koplos, Art in America, February; Art of the Luminous, Roy Exley, CVA, Issue 25, 1999 Matthew Tickle: Idyll, London Zok, Issue No. 17, November; Matthew Tickle, Evening Standard, 5 November; Matthew Tickle, Laura Moffat, Art Monthly, No 231, November; London Art Notices, Sacha Craddock, londonart.co.uk.magazine, November; Matthew Tickle, Martin Herbert, Time Out, No.1523, 27 October; Idyll, The Independent, 3 October; Idyll, Space, The Guardian, 16 September; Choice of the Week, The Guide, The Guardian, 11 September; High-Rise, David Barrett, Art Monthly, No.226, May; High-Rise, Mark Currah, Time Out, 15 May; Furniture I and II, Lisa Panting, Contemporary Visual Arts, Issue 23; Furniture, Deborah Schultz, Art Monthly, No. 225, April; 1996 Plastic, Jonathan Jones, Untitled, No. 12, Winter; ARTS, The Times, 10 September; Visual Arts , Adrian Searle, The Guardian, 27 August; Plastic, Sarah Kent, Time Out, Volume 1358, 28 August Publications 2005 What The Eye Can’t See The Heart Can’t Grieve For, a DVD documenting the temporary public artwork, with accompanying booklet of essays by Dr Fay Dowker and Sally O’Reily, published by Matt’s Gallery, London 2001 Idyll, a book-work with accompanying essay: ‘Installation and Photography: Matthew Tickle’s Idyll’ by Michael Newman, published by Matt’s Gallery, London, ISBN 0 907623 36 0 2000 Tourist, text by Steven Spier, published by Space Explorations, ISBN 0 9531 68913 1999 Furniture, texts by Martin Herbert, Joan Key, and Paul Heber-Percy, published by Richard Salmon Gallery, London, ISBN 1 873550 11 1; Space Explorations, texts by Penelope Curtis, Mel Gooding, Mark Currah and David Barrett, published by Space Explorations, London, ISBN 0 9531689 0 5 1996 Plastic, text by Neil Cummings, with foreword by Joan Key & Paul Heber-Percy, published by Richard Salmon Gallery, London, ISBN 1 873550 01

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