Coleman Project Space (CPS) is proud to present new works by Daisy Billowes and Julia Marco Campmany. With Reckless Rawness we are asked to consider the journey – processes of recording, manufacturing and presenting their findings – towards a making proposition, rather than a final or single conceptual destination. Incorporating drawing, collage, digital data and painting, the exhibition offers myriad ways of encountering and thinking about the constructed environment: as real places, representational territories and facets of the collective imagination.

The chance encounter plays a significant part in the artists’ approach to describing the surroundingareas of a city or urban interior spaces. Where Billowes ventures unscripted into the digital realm, Marco Campmany uses walking as a means of developing her drawing practice. The realm of raw drawing between the two artists encourages the meditative mind-set that abstraction offers – the works ebb and flow, leading the eye throughout the intimate spaces of CPS.

Billowes presents a set of moving-image works exploring how physical realms are understood in digital form, and the impacts of processing visual information in this way when it comes to looking at art works. She adopts an almost forensic approach to mapping space – in this case the spaces of the gallery – using a variety of techniques to expose the different, essentially hard-to-grasp technological processes in play shaping our perception. The environment she creates encourages a considered, investigative response, in antithesis of the everyday screen experience.

Julia Marco Campmany  itwasitwouldbe(1)

Taking Guy Debord’s notion of the derive – of moving intuitively through urban spaces entirely open to the effects of surrounding stimuli – Marco Campmany creates works on a variety of surfaces that resist the limits of all processes involved in their making. Material tensions encourage us to question the logic of usefulness. Structural and often geometrical elements support fluid, playful lines, while sculptural materials reflect printed matter and vice versa, resulting in a series of ambiguous automatic drawings.

It is a reactionary exhibition, and instinctive, comprised of works that collectively suggest a single, omnipresent artist and an open landscape mapping the fluidity, flexibility and delight that confusion can bring in its most raw and reckless form.