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Passage @ The Byre: Stine Bidstrup, Æsa Björk, Matt Durran, Jeffrey Sarmiento, Petr Stanický

Current viewing_room
September 4, 2021 - March 31, 2023
  • Passage @ The Byre

    Stine Bidstrup, Æsa Björk, Matt Durran, Jeffrey Sarmiento, Petr Stanický

    Caithness, Scotland

  • "The Byre is a mythical space the artists are traversing to explore confabulated geologies, the fallibility of perception, paths to salvation, identity, and thresholds to unknown spaces." Michael Endo, curator

    Exhibitions in The Byre traditionally begin with a journey. The artists gather in Caithness to work alongside one another for a brief period before returning to their respective studios to build upon their experiences, the architecture, and the surrounding landscape. The COVID-19 pandemic altered this course. Instead, artists Stine Bidstrup (Denmark), Æsa Björk (Norway), Matt Durran (UK), Jeffrey Sarmiento (UK/Australia), and Petr Stanický (Czech Republic) created their work based on photographs, drone footage, historic maps, written documentation, and memories from previous visits to the area. In a collective form of remote viewing, the artists are projecting themselves into one of the five distinct spaces of The Byre complex: Horse Barn, Cow Barn, Store Room, Hay Barn, and the exterior.

  • Stine Bidstrup

    Archetypical Architectures as Found and Imagined Around Latheronwheel (Bridge), 2021 cast glass
    7.5 x 17.75 x 5.25 inches
    Price upon request
    • Stine Bidstrup, Archetypical Architectures as Found and Imagined Around Latheronwheel (Corner), 2021
      Stine Bidstrup, Archetypical Architectures as Found and Imagined Around Latheronwheel (Corner), 2021
    • Stine Bidstrup, Archetypical Architectures as Found and Imagined Around Latheronwheel (Gable), 2021
      Stine Bidstrup, Archetypical Architectures as Found and Imagined Around Latheronwheel (Gable), 2021
    • Stine Bidstrup, Archetypical Architectures as Found and Imagined Around Latheronwheel (Bridge), 2021
      Stine Bidstrup, Archetypical Architectures as Found and Imagined Around Latheronwheel (Bridge), 2021
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  • Stine Bidstrup
    Artists

    Stine Bidstrup

    The cast glass artwork that I created for Passage, "Archetypical Architectures as Found and Imagined Around Latheronwheel," draws on the cultural history of glass, specifically the history of glass in both vernacular and sacred architecture. This work is a continuation of my  Imaginary Crystallisations Series and merges the architectural ruins and stone structures found in the Caithness region with the idea of glass as linked to a simulacrum of naturally occurring crystals and semi-precious stones.

  • Æsa Björk

    Embers, 2021 fused and slumped glass, partly mirroized
    dimensions variable
    Price upon request
    • Æsa Björk, Embers I, 2021
      Æsa Björk, Embers I, 2021
    • Æsa Björk, Embers II, 2021
      Æsa Björk, Embers II, 2021
    • Æsa Björk, Embers III, 2021
      Æsa Björk, Embers III, 2021
    • Æsa Björk, Embers IV, 2021
      Æsa Björk, Embers IV, 2021
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  • Artists

    Æsa Björk

     This new body of work references what Samuel Beckett scholars would call “skullscapes" and draws inspiration from his work, Embers, especially written for broadcasting and first performed by Jack MacGowran in 1959.

     

    My work often deals with inner and outer boundaries and in the Cowbarn space at The Byre, I invite the viewer inside a perceived mental state, referencing the passage of time by contrasting the ephemeral with the surrounding structures of stone.

  • Matt Durran

    Cathedral for One, 2021 kilnformed glass, glass lead crystal tube, wood
    80 x 82.75 x 98.5 inches
    Price upon request
  • Matt Durran, Cathedral for One, 2021 (Larger version of this image opens in a popup).
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    Matt Durran, Cathedral for One, 2021
  • Matt Durran
    Artists

    Matt Durran

    My research and investigation for this body of work is twofold: one is my response to the landscape at Caithness, with its coastline of sea trade and the search for sanctuary; the other is about those places of contemplation and meditation that currently cannot be accessed, forcing the need for us to create our own spiritual spaces. The installation, Cathedral for One, is a physical presence built for one body and one mind. It is a metaphor for solitariness and isolation, darkness to light.

  • Jeffrey Sarmiento

    Sunderland to Latheronwheel, 2021 kilnformed glass
    dimensions variable
    Price upon request
    • Jeffrey Sarmiento, Sunderland to Latheronwheel, 2021
      Jeffrey Sarmiento, Sunderland to Latheronwheel, 2021
    • Jeffrey Sarmiento, Sunderland Pelton Loop (Scotch Egg Run), 2021
      Jeffrey Sarmiento, Sunderland Pelton Loop (Scotch Egg Run), 2021
    • Jeffrey Sarmiento, Cappio, 2021
      Jeffrey Sarmiento, Cappio, 2021
    • Jeffrey Sarmiento, Berriedale Braes, 2021
      Jeffrey Sarmiento, Berriedale Braes, 2021
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  • Jeffrey Sarmiento
    Artists

    Jeffrey Sarmiento

    This body of work was influenced by the frustrations, and sometimes pleasures, of journeys which are as unique as they are universal. For me, the most significant (and longest) trip of the past 18 months was to visit The Byre. My arrival was punctuated by the switchback roads along coastal cliffs of the Northern Scottish Highlands. It is an environment of grey stone and often sky, against which I’ve pitched a colorful response. Inspired by the childhood game Snakes and Ladders, this body of work is an arrangement of vibrant snakes whose contours have been modeled after journeys taken during the pandemic. My drive to Latheronwheel, Scotland, is recorded in 16 sections that, when placed nose to tail, could navigate a viewer north from my starting point in Sunderland, England. Arrangements of snake-shaped loops in glass commemorate idle time spent on hikes and cycle rides as recorded on the fitness app Strava. Ancient versions of the game Snakes and Ladders refer to reaching spiritual paradise, and Victorian iterations pit virtues against vices in the race up and down the board. Returning to the site reminds me of life’s triumphs and failures, booms, busts, isolation, and displacement. With this work I’ve added hopes and dreams of transformation and transcendence.

  • Petr Stanický

    Sign: What is from Where, 2021 hand-rolled sheet glass, mirror, stainless steel
    98.5 x 98.5 x 118 inches
    Price upon request
  • Petr Stanický, Sign: What is from Where, 2021 (Larger version of this image opens in a popup).
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    Petr Stanický, Sign: What is from Where, 2021
  • Petr Stanický
    Artists

    Petr Stanický

    My site-specific installation is a response to the architectural site of The Byre, where thick-walled stone barns and visible ruins of former structures reside. The work consists of a glass and metal form acting as a dynamic architectural construction by linking the horizontal plane of the earth to the vertical plane of the edifice.

     

    The installation explores our relationship with the spaces we inhabit, and our varied responses to the incongruities they possess. It serves as a parable of sorts, in considering both our own domestic spaces, and the fragile and fleeting nature of life.

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