The latest in the series of Serpentine exhibitions reflecting British artists at significant stages of their careers, Cerith Wyn Evans’ show is a dazzling sensorial feast. Presenting a varied body of work, Wyn Evans’ installations and sculptures employ light, sound and time, in this case transforming and manipulating the vaults and spaces of the former gunpowder store that is the Serpentine Sackler Gallery.
About the artist
Born in Wales, Wyn Evans began his career as a video and filmmaker, previously working as an assistant to Derek Jarman and collaborating on pop videos with bands like The Smiths. Since the 1990s, his practice has taken a more conceptual approach focusing on language and perception, with work often developed out of the context or history of the exhibition site. Wyn Evans combines a multiplicity of references in his work varying from film, literature, science, history and obscure interesting facts; he sees his installations acting as a catalyst, creating a reservoir of possible meanings that can unravel many discursive journeys.
The exhibition
In this show we will see one perfect example of this in his chandeliers; ornate, delicate and suffused with light, these beguiling structures almost obfuscate their other function as communication devices. With the aid of software systems, Wyn Evans has transformed the chandeliers so they translate texts into the flashing light signals of Morse code.
Sound is also another element in the exhibition: lights appear to inhale and exhale, and a column of sound draws attention to the surrounding architecture. Even with this much sensory input, the works are both sumptuous yet intelligent, sensual yet highly articulate of other perceptions and ideas.
A critical view
Perhaps the best summary of Wyn Evans work has come from the writer Marty Carlock: who wrote that “his purpose, as best we can define it, is to stimulate in the viewer's imagination something that has not been there before, although not necessarily what he himself has imagined.” Catch it while you can.
About the artist
Born in Wales, Wyn Evans began his career as a video and filmmaker, previously working as an assistant to Derek Jarman and collaborating on pop videos with bands like The Smiths. Since the 1990s, his practice has taken a more conceptual approach focusing on language and perception, with work often developed out of the context or history of the exhibition site. Wyn Evans combines a multiplicity of references in his work varying from film, literature, science, history and obscure interesting facts; he sees his installations acting as a catalyst, creating a reservoir of possible meanings that can unravel many discursive journeys.
The exhibition
In this show we will see one perfect example of this in his chandeliers; ornate, delicate and suffused with light, these beguiling structures almost obfuscate their other function as communication devices. With the aid of software systems, Wyn Evans has transformed the chandeliers so they translate texts into the flashing light signals of Morse code.
Sound is also another element in the exhibition: lights appear to inhale and exhale, and a column of sound draws attention to the surrounding architecture. Even with this much sensory input, the works are both sumptuous yet intelligent, sensual yet highly articulate of other perceptions and ideas.
A critical view
Perhaps the best summary of Wyn Evans work has come from the writer Marty Carlock: who wrote that “his purpose, as best we can define it, is to stimulate in the viewer's imagination something that has not been there before, although not necessarily what he himself has imagined.” Catch it while you can.
| What | Cerith Wyn Evans, Serpentine Sackler Gallery |
| Where | Serpentine Sackler Gallery, West Carriage Drive , Kensington Gardens, London , W2 2AR | MAP |
| Nearest tube | Lancaster Gate (underground) |
| When |
17 Sep 14 – 09 Nov 14, 10:00 AM – 6:00 PM |
| Price | £Free |
| Website | Click here for more information via the Serpentine Gallery |
