Fordham Gallery, London
A collaboration with Siniša Ilić
Missing Image is part of a series of ongoing projects by Tina Gverović and Siniša Ilić. This ongoing project, which takes place in a variety of locations and takes on a variety of forms (drawings, found and original photographs, video and audio recordings, exhibitions and printed material), looks at problems of identity construction in environments characterized by impermanence. The material shown here collects together historical and contemporary images which record and comment upon experiences of public space, togetherness, labour, exclusion, and economic processes. The fact that some images are intentionally or accidentally blurred, and of low-res quality, together with the fact that images have been replaced with written descriptions, or titles emphasizes moments where perception is made difficult, where understanding is somehow obstructed or obscurred. The images shown here, along with their remains or traces might encourage observers towards the additional work of detecting and recognising a variety of issues which we encounter and struggle with on a daily basis.
Fordham Gallery is an itinerant gallery in the form of a boat, which moves around the south of England via canals. For the exhibition and the initial presentation of the publication Missing Image (produced in collaboration with Ben Cain), the gallery was moored at Victoria Park in East London.
Three hi-tech planes
10,971 metres below sea surface
As deep as it can be
Flat Sea Blue
Face on, open book, blank wall, face book, blank book, wall face, empty window, opaque window, block, obstacle, open block, end wall, fog. Poor visibility, low visibility. Null, zero. Painting like an anechoic chamber. Up against a wall, a block, a surface, painting, face, face right up against a wall, face a surface. A shroud, thick covering, a dense layering. A border line, a border wall, a border guard, a blue-grey suit, dense matt cotton/polyester mix. Totally impenetrable.
List of different areas of different seas, with no land in sight or mind, no points of reference, and no bearings. What’s in front is blue, what’s behind’s blue, above and below, blue. At that point you don’t know whether you’re actually seeing, or whether if you closed your eyes you’d ‘see’ the same thing, or rather colour, hue, tone.
Out of the Laptev Sea
In the Arafura Sea
Like the Ceram Sea
Above the Chukchi Sea
Pine needless. Pine needles. The ground is covered with pine needless. In the first bay on the left there is an old pine forest. This is where I am going. Not here. This place here. Flower. Hibiscus flower. Stone is crimson, the colour of hibiscus flower. It is in bloom throughout July. On the other side of the island. The cities further south are built with the same stone. Crystal white. Waters are sometimes wild but more often clear and calm. Cliffs and rocks. Space and travel.
Face on, open up, all blank, face back, blank back, walled out, walled in, empty wall, opaque black, black block, obstacle, stop, open stop, end up, snowed in. Poor end, low state. Null, zero, no echo. Painting like an anechoic chamber. Up against a wall, a block, a surface, painting, faced by, face right, face up, by a wall, face by surface. A shroud, thick covering, a dense layering, heavy cover, heavy sheet, thick layer, an opaque covering. A border line, a border wall, a border guard, a blue-grey suit, dense matt cotton/polyester mix. Totally impenetrable.