Dane Mitchell Other Explications


Dane Mitchell
Other Explications 
22 November – 21 December 2013

Hopkinson Mossman is pleased to present Other Explications, a solo exhibition of new work by Dane Mitchell.

Mitchell’s practice is concerned with the physical properties of the intangible, and visible manifestations of other dimensions. Working with scent, spells and shamans, Mitchell’s work channels invisible forces into concrete forms, conflating spiritualism’s concern for trace and residue with the legacies of minimalism and conceptual art.

For Other Explications, Mitchell presents a series of new sculptural and photographic works that chart the territory between sleep and waking, conscious and subconscious. Hypnosis, as an alternate state of consciousness, here provides a framework through which Mitchell considers and teases the nature of perception and belief.

The main gallery contains four new sculptural works. Two highly polished, large brass hoops are enjoined to form a three-dimensional Venn diagram. One hoop is engraved ‘sleep’ and the other ‘waking’. The intersection is a gap; an empty space of an unknown or ungraspable state. Nearby, a single resonance speaker is affixed to a large sheet of glass freestanding in the space. It transmits the sound of human breathing in a state of hypnotic induction that permeates the material and space alike, enveloping the viewer in the mesmerizing rhythm.

On the floor, four brass corners demarcate a square space. The work, titled Teleplastic Alloy (Witnessing Separates Itself From Seeing), is in itself a minimal sculpture (with its own material weight and art historical legacy), but potential also lies in its activation of the ‘empty’ space it carves out.

In recent work, Mitchell has used barriers, plaques and signs to signal a threshold beyond which a spell has been cast, or a sacred act has taken place. On the opening night of Other Explications, an anonymous person will have been hypnotized to see an object that is not visible to other visitors (just as the hypnotic state may not be perceptible to others in the room). An object will appear to the hypnotized person, and only to them, in the space demarcated by the brass corners. The work plays on the expectation, imagination and belief of the viewer, amplifying the already heightened mode of perception conditioned by the white cube.

On a shelf in the large gallery a clamp device holds a single piece of paper; a tester strip sprayed with perfume. The scent is that of an unseen object. For Mitchell, perfumes are molecular sculptures; weight, mass, and dimensionality all account for the way in which they manifest to the viewer. They vanish soon after they appear as molecules loosen themselves from their complex structure to dissipate, cling, reform, swarm and spread themselves thin. In this case, the artwork takes shape in the viewer. As scent enters the body, it disestablishes the boundaries that artworks traditionally maintain with the viewer; the space between object and body is here imagined as something active and constantly in flux.

The small gallery contains a series of seven photographic prints. Taken on a microscopic camera, each contains a single piece of rheum or ‘sleep’; the ‘unconscious material’ produced by the body that typically gathers in the corner of the eye during sleep. If scent is conceived as sculpture that infiltrates the body, the photographs document microscopic, crystalline forms produced (automatically) by the body.

Though immediate in their sensory appeal, Mitchell’s concrete forms are conductors or residues of unseen forces or currents. Assembled from materials with their own rich alchemical ancestry – typically materials that have undergone a major transformation to arrive at their current state (such as alloys, perfume, and glass) – they tease out the potential for things to appear and disappear, and our ability to perceive or imagine transfiguration. Individually and collectively Mitchell’s works in Other Explications build a complex analogy for the movement of meaning and the flow of affect generated by the artwork in the gallery environment.

Dane Mitchell (1976, Auckland) graduated from Auckland University of Technology (AUT) in 1998. Mitchell’s work has been included in major group exhibitions worldwide including: Liverpool Biennial (2012); Gwangju Biennale (2012); Singapore Biennial (2011); and Busan Biennale (2010). He has participated in residency programs at Dunedin Public Art Gallery, Dunedin (2011); Govett Brewster Art Gallery, New Plymouth (2010); Berliner Künstlerprogramm DAAD, Berlin (2009/2010); and Gasworks, London (2008). Recent solo exhibitions include: Conservation of Mass, RaebervonStenglin, Zurich (2013); Sassa Truelzsch, Berlin (2013); Radiant Matter III, Artspace, Auckland (2011); Radiant Matter II, Dunedin Public Art Gallery, Dunedin (2011); Radiant Matter Part I, Govett Brewster Art Gallery, New Plymouth (2011); Minor Optics, daadgalerie, Berlin (2009); and Conjuring Form, Art Statements, Basel (2008). Other Explications is Mitchell’s first solo exhibition at Hopkinson Mossman.