THE BLACK LINE
       
     
  In preparation for Heather and Ivan Morison’s exhibition  The Black Line , Void underwent massive physical alterations. Four walls were demolished in the gallery spaces to reveal the underlying skeletal structure. What remained were the raw stripped steel struts, cabling and the original red brick walls of the city factory. A reminder of what the space once was. The Morison’s approach to the exhibition at Void and its space is greatly influenced by the earlier works of artist/writer Robert Irwin, especially his work 'Black Line Volume'. Irwin's aim was to isolate the art experience, to clear his work of any and all concrete manifestations so that it could be reduced to pure phenomenon. In light of this, The Morison’s work at Void aimed to dissolve the spaces into each other, the building and the street. Extensive work was carried out to remove the boundaries that the gallery walls had created revealing the space beyond. The installation however did not end there, the walls were replaced with charred vertical timbers. The outside wall on the street side of the gallery was knocked through where a window once was, an existing window on the other side of the basement was also removed creating two diffused light sources either side of the space, obliquely visible through the slatting.  Void gallery
       
     
Heather-and-Ivan-Morison-THE-BLACK-LINE-1.jpg
       
     
Heather-and-Ivan-Morison-THE-BLACK-LINE-3.jpg
       
     
Heather-and-Ivan-Morison-THE-BLACK-LINE-2.jpg
       
     
Heather-and-Ivan-Morison-THE-BLACK-LINE-6.jpg
       
     
 Photos: Paola Bernardelli
       
     
THE BLACK LINE
       
     
THE BLACK LINE

Charred timber
Installation Void, Derry, Northern Ireland, 2009

 

  In preparation for Heather and Ivan Morison’s exhibition  The Black Line , Void underwent massive physical alterations. Four walls were demolished in the gallery spaces to reveal the underlying skeletal structure. What remained were the raw stripped steel struts, cabling and the original red brick walls of the city factory. A reminder of what the space once was. The Morison’s approach to the exhibition at Void and its space is greatly influenced by the earlier works of artist/writer Robert Irwin, especially his work 'Black Line Volume'. Irwin's aim was to isolate the art experience, to clear his work of any and all concrete manifestations so that it could be reduced to pure phenomenon. In light of this, The Morison’s work at Void aimed to dissolve the spaces into each other, the building and the street. Extensive work was carried out to remove the boundaries that the gallery walls had created revealing the space beyond. The installation however did not end there, the walls were replaced with charred vertical timbers. The outside wall on the street side of the gallery was knocked through where a window once was, an existing window on the other side of the basement was also removed creating two diffused light sources either side of the space, obliquely visible through the slatting.  Void gallery
       
     

In preparation for Heather and Ivan Morison’s exhibition The Black Line, Void underwent massive physical alterations. Four walls were demolished in the gallery spaces to reveal the underlying skeletal structure. What remained were the raw stripped steel struts, cabling and the original red brick walls of the city factory. A reminder of what the space once was.
The Morison’s approach to the exhibition at Void and its space is greatly influenced by the earlier works of artist/writer Robert Irwin, especially his work 'Black Line Volume'. Irwin's aim was to isolate the art experience, to clear his work of any and all concrete manifestations so that it could be reduced to pure phenomenon.
In light of this, The Morison’s work at Void aimed to dissolve the spaces into each other, the building and the street. Extensive work was carried out to remove the boundaries that the gallery walls had created revealing the space beyond.
The installation however did not end there, the walls were replaced with charred vertical timbers. The outside wall on the street side of the gallery was knocked through where a window once was, an existing window on the other side of the basement was also removed creating two diffused light sources either side of the space, obliquely visible through the slatting.

Void gallery

Heather-and-Ivan-Morison-THE-BLACK-LINE-1.jpg
       
     
Heather-and-Ivan-Morison-THE-BLACK-LINE-3.jpg
       
     
Heather-and-Ivan-Morison-THE-BLACK-LINE-2.jpg
       
     
Heather-and-Ivan-Morison-THE-BLACK-LINE-6.jpg
       
     
 Photos: Paola Bernardelli
       
     

Photos: Paola Bernardelli