A Short Documentary About An Exhibition of Repetition that Didn’t Repeat + further aural information

This show concerns the emergence of material structures and experiences under iteration.  Larger and smaller scale forms emerging through multiplicity on other orders of magnitude.

The curatorial questions intersect some of the questions at the core of my own artistic practice:

Can there be repetition?  What is it?  How is it felt?  Can repetition occur outside of time?  Can time be differentiated from notions of repetition?  What and where are memories?

Where is the point at which pattern recognition = pattern formation?

Heraclitus decides, like a Rhinosaurus on the Savanna, to get back in the River.  Plato, and without wanting to seem arbitrary, asks Craytlus: “How can that be a real thing which is never in the same state? … for at the moment that the observer approaches, then they become other … so that you cannot get any further in knowing their nature or state ….”

Meanwhile, from the bank Syd Barrett is singing to an Octopus:“so high you go, so low you creep, the winds it blows in tropical heat, the drones they throng on mossy seats,the squeaking door will always creep, two up, two down we’ll never meet…” I asked him to repeat what he said, but he just answered “Please leave us here”.

More information about the artists:

Valérie Wartelle:
My main fascination lies within the manipulation of fibres and textiles as an
expressive art form. Taking the rural environment as my inspiration, I draw on its
colour, texture and form to create ethereal artworks.
My primary practice is wet felting: a traditional craft using wool tops, hot water,
soapsuds and friction to interlock the fibres together. The making is haptic,
rhythmic and muscular as I slowly build the composition one layer at a time,
pouring, rolling and squeezing again and again. The repetitive and meditative
process of making gives space for an intuitive and sensory response to the
organic transformation, which gradually occurs before me. The ensuing
artworks are highly textured felt pieces in which cloth is embedded and
threads unraveled as a painter with her brush, making the viewing inquisitive
and contemplative.

Valérie Wartelle | fibre artist

Bryn Harrison is a composer and Professor of Music at the University of Huddersfield. His music explores notions of repetition and memory, often in the context of extended periods of time. In 2018, he began to reflect upon how these themes might be examined through the process of drawing and, in particular, how temporal issues relevant in music could be considered by way of a visual medium. The foundation of this exploration was laid in 2003 when Harrison made a set of preliminary sketches based on the work of the British artist Bridget Riley in preparation for a large-scale composition entitled Six Symmetries (2004). The set of canvases entitled Curvilinear after Bridget Riley 1-5 (2019-present) can be seen as an extension of those compositional sketches. By contrast, Ink Studies (I-V) (2020) were made by applying a figure-of-eight hand movement across acrylic paper using inks and a Colour-Shaper (a rubber-tipped art tool usually used for engraving on wet paint or sculpting clay). The process was repeated for each of the five drawings.  Due to the varied viscosity of inks and the gradual wearing of the Colour-Shaper, this process produced a set of images that contrast in form and density.

from Eleanor Cully:

“I am an artist making and installing artworks as well as musical compositions for instruments and voice. I love to work on a whim and to encounter ideas for my work in everyday life. In recent years it has become important to me that my pieces aren’t “fixed” or repeated exactly; I love to adapt my work for the surrounding environment and to create subtle variations. For these reasons I often resist making recordings of my work, or indeed making them public, in favour of savouring a live performance or encounter.

When composing a piece, I think about placing two contrasting yet related elements in the same timeframe, for example the ‘sea’ heard inside seashells with a low phantom humming from an exhibition of butterflies. Sometimes these separate elements are works in themselves, recordings for example, repurposed for different contexts, and so my process of composition is about placing things together as a curator might place works in an exhibition.”


Jorge Boehringer is an experimental artist and researcher who makes installation work, noise, music, and texts.  His work explores attention, instability, and the texture and apprehension of temporality and environments in everyday life. Boehringer also performs regularly as a violist, and electronic musician, and has a solo exploration called Core of the Coalman.  Boehringer is a member of several grassroots DIY arts organizations, working on an organizational level with Fuse Art Space in Bradford, and providing curatorial and programme support to Dai Hall in Huddersfield. New Weird Huddersfield (NWH), a curatorial project in collaboration with artist-musician Chris Ruffoni, aims to increase the local noise floor in the alluvial and psychological region between Manchester and Leeds.

from a review of a recent release by Paul Tone, who is showing several graphic works in our exhibition (just imagine this describes those too because I think it will)

“relentless crackle, pop, hiss, and fizz, like a firework exploding inside your cranium, exploding over a wash of analogue froth…”


volume 2 of Archipelago in Natural Colours

from On Growth and Form

Archipelago In Natural Colours, volume 2 by On Growth and Form/Jorge Boehringer

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