15 May 2004 - 13 June 2004

While working with very different methodologies, both make work that formally uses landscape (urban and rural) in a reductive manner.

LESLEY PUNTON makes drawings from photographic negatives onto the surface of thick, smoothly sanded oil paint. All the information in the negative (including the grain of the photograph) is reduced to the same mechanical mark made at a constant even pitch, regardless of form or tone, minutely recording detail over the entire surface of the painting. During the making of the drawings, the negative itself fades while in the slide projector, and the whole process becomes a slow race to fix the image before the negative itself disappears. The image is fugitive in the most literal sense of the word.

OLWEN SHONE, using video, reduces nature almost to abstraction, but crucially, the essence of the place and the experience is retained. In her series of video loops Shone dislocates the viewer from place, and invites us to engage with that which is barely present. Slight movements and interruptions of shadows and reflections from the stirrings of wind or tide are minutely recorded. There is no great drama here; only an insistence that these small events, unfolding in time as we experience them, matter.