TURN.to colour

Exhibition

By:norbert francis attard
Architecture, Conceptual, Installation, Intervention, Mixed Media, Painting
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Untitled
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TURN.to colour

TURN.to colour Commissioned by Turner Contemporary, U.K. Curated by Miria Swain. 51 Colours painted on doors and windows,  LED lighting. Margate Pier, Margate, UK., 2007.   TURN. to colour, the title of Norbert Francis Attard’s intervention visible along the stone pier in Margate directly responds to the architectural physicality of the pier while drawing on Margate’s historical connection with JMW Turner. Taking certain characteristics of Turner’s painting as a point of departure for the work, namely his use of colour and his fascination with light, the sea, storms and clouds, Attard’s work re-engages with Margate’s seafront to explore the nature of boundaries and the intangibility of horizons. Originally trained as an architect, Attard now focuses on a contemporary art practice that incorporates sculpture, photography, video and installation. Often working with physical sites, Attard introduces new elements – sometimes found and sometimes made in order to invite participation and change the way people view a particular space. With his piece for Margate, Attard’s intervention consists of painting the doors and windows of the old fishermen’s stores along the pier with a choice of colours inspired by his own view of Margate, Turner’s paint palette and the colours of the spectrum. The economy of this gesture is captivating – redefining the pier as a focal point for the town. Attard has spoken of his interest in the pier as embodying the notion of an arm that both shelters the town from the encroaching sea and points like a finger to the horizon. Also informing the work is the sense of a tidal clock determined by the sea; of the shifting relation between light and colour; between the boundaries of night and day, sunset and sunrise. This concept is further enhanced by a one off light installation conceived especially for the pier and presented during the opening. By highlighting the negative spaces articulated in the painted doors and windows, this installation makes visible at night, that which is seen by day. MIRIA SWAIN

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