The work of gatescherrywolmark (gcw) exists at the site of several intersections – between technology and subjectivity, between disparate practices, and between different/separate identities. The work explores the language of small details and the small details of language. Limited gestures, layered with meaning, demonstrate the way in which significance resides in the ordinary and the banal. Making and unmaking, shifting the patterns of existence in small and significant ways through gestures and rituals, always at the intersection of personal and social space.
‘gcw’ explores the increasing hybridity that occurs at the intersections of image and text, and to make work that is capable of addressing multiple audiences across different cultural sites. Digitised combinations of image and text generate interference patterns in the way in which we understand and consume work. The form and content of the work being developed by gcw crosses art and text, to generate a new paraspace in which the traditional relations between words and images break down. The apparent unreadability of the work consequent to this breakdown demonstrates the necessity to generate a new context for reading work in which digitised text and image are considered to be embedded cultural forms, rather than being considered as peripheral.
As part of its remit, gcw networks and creative thinking expose the difficulties of language and art present in society today.
The visible traces of the past in the present provide the essential material from which the video, Logical Aesthetics, constructs new new cultural narratives in which to rethink the relationship between ourselves and the material conditions of our existence. Logical Aesthetics is a result of a deconstructive and constructive process which gcw has attempted to engage in performatively, by exploring the possibilities of multiple authorship and to subvert the binary divisions between authorship and ownership, research processes and finished work. Using images from gcw archives, the video draws on the relationship between the original artists (Eleanor Gates-Stuart, Jean Cherry and Jenny Wolmark) and multiple agencies that changed the work significantly as a consequence, creating an open-ended and hybridised narrative.
As the borders between word and image become porous, a less carefully ordered, more eccentric spatial environment is beginning to develop. New and different skills are required to negotiate this space: we have to learn to ‘see’ through words and to ‘read’ through images. In the process, the familiar and the obvious disintegrate in a new and evolving synthesis in which control over meaning no longer resides within the either / or of word and image. In the shared space generated by the synchronicity of word and image, existing constraints on meaning are dislodged, and new meanings that are both improvisational and innovative can be articulated.
As the boundaries between practices and processes begin to break down, the work increasingly finds itself in an unfamiliar ‘elsewhere’, a placeless ‘place’ that is appropriately hybrid, plural and impure. It is a place of power and excess, in which word and image begin to cohere in unfamiliar and transgressive structures that are incomplete and partial, on the threshold of meaning.
View ‘Disruptive Signals’ Publication
Book: Disruptive Signals
First published in 1999 by gatescherrywolmark
© Eleanor Gates-Stuart, Jean Cherry and Jenny Wolmark
Typeset and design by Image-on-Artworks, UK
Alternative view: View: https://indd.adobe.com/view/cc5e8359-1f8a-43df-8571-dfaead49440
gcw Exhibitions and Publications
|2004||Publication: Wolmark, J. & E. Gates-Stuart, Cultural hybrids, post-disciplinary digital practices and new research frameworks: testing the limits|
|2002||Publication: Wolmark, J. & E. Gates-Stuart, Research as cultural practice. Working Papers in Art and Design 2|
|2005||gatescherrywolmark video, Logical Aesthetics LUME : LANEWAY SCREEN SPACE, Melbourne, Australia FIRST THREADS.|
Featured by artist Paul Mosig & music by Jen Kingwell.
|2004||Intersections, 4in04. Access Space, Sheffield. UK|
|2004||Next Wave Festival 2004, Melbourne, Screen Program ‘Ways of Seeing’.|
Artist Paul Mosig features gatescherrywolmark’s video Logical Aesthetics, music by Jen Kingswell.
|2003/4||SIGGRAPH 2003 TAS (Touring Art Show) USA|
|2003||Siggraph 2003, Digital Exhibition, San Diego, USA. (‘and’ and ‘dicegold’)|
|2002||e-card, Competition Winner, ABC On-line, Australia|
|2001||CSA Showcase: Jubilee 2001, CSA Gallery, ANU. Australia ISBN: 0 7315 30195|
|2000||Digital Art 2000: Epson Digital Print Exhibition on-line|
|2000||gcw Digital Works, The Workstation, Sheffield|
|2000||gcw Digital Works European Illustration Centre, University of Lincoln|
|2000||gcw Digital Works Small Gallery -Sheffield Hallam University|
|1998||gcw Cover design Edinburgh Press – Cybersexualities: a reader in feminist theory, cyborgs & cyberspace. Edited by Jenny Wolmark.|
Document: Cultural hybrids, post-disciplinary digital practices and new research frameworks: testing the limits
Document: Research as Cultural Practice
g c w 3 b o x e s
g c w 3 b o x e s should be thought of as providing a temporary passage through information. They can also be thought of as a literal expression of the way in which ‘information’ is both packaged and spatially contained in cyberspace, a major consideration of the project. Technology allows the rapid processing of information, and to mirror this, the boxes are intended to allow the viewer to rapidly shift, sort and rummage. Contained in the information held within the boxes are hints of authentic identities, ways of being, pieces of the past collapsed into the present. The content of the boxes are, in reality, facsimiles, simulacra of the possibilities of a future where meanings can and should be subverted to form new vocabularies, new symbols, new meanings.
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This arcv.pls.txt.scrb.spc.spt.vs collection by Eleanor Gates-Stuart works as a documentary on the work of gatescherrywolmark, three artists who used their individual mediums to create collaborative works.