POSTPONED

Samuel Capps

ZE AYA

ZE AYA

ZE AYA

ZE AYA

EXUDATER

FAR AWAY FROM YOU

FAR AWAY FROM YOU

FAR AWAY FROM YOU

FAR AWAY FROM YOU

 

 

 

 



14 DECEMBER 2019 – 18 JANUARY 2020

Opening on Friday 13 DECEMBER, 18.00 – 21.00

14 DECEMBER 2019 – 18 JANUARY 2020

Opening on Friday 13 DECEMBER, 18.00 – 21.00

14 DECEMBER – 18 JANUARY 2020

Opening on Friday 13 DECEMBER, 18.00 – 21.00

14 DECEMBER 2019 – 18 JANUARY 2020

Opening on Friday 13 DECEMBER, 18.00 – 21.00

Postmodern fragmentation of culture has dominated contemporary discourse and cultural evolution through Deleuze and Guattari’s theory of the Rhizome, leading to a dissipation of genre categorization into a sub-genres, a process of defining something that paradoxically becomes less defined.  This infinite sub-sub-branching is implicit in describing the natural order of the world, from geological beginnings to our current day subcultures. All of history, subjectivity and evolution has been a hierarchical system of genealogical distribution up until this point; a point in which temporal subjectivity is blurring into the perpetual instant.  This hierarchical fractal design is written deep in the L-system code of nature and core physics, manifesting in Faultlines, River Networks, Coastlines, Mountain Ranges, DNA, Crystals, Lightning and Ocean waves. From the microbiological passages of venous systems to the planetary scale of rivers inherently formed for movement through the natural world, they all follow the path of least resistance, probing new pathways through a series of subdivisions and slowly beginning to dissipate energy.  Nature favours fractal recursion through branching or spiral patterning, a technically infinite procedure in mathematics but with reduced iterations within the natural world limited to only several levels or layers. This process is always a distribution of energy equating to the base, such that, if a tree has 4 branches, their width equates to that of the trunk.


The botanical phenomena of rhizodeposition releases organic compounds through roots into the surrounding soil biome, this mucilage enriches the microflora of a soil, developing it into a complex and immeasurable mix of compounds.  The deposition of the Deleuzian rhizomatic is already leaking through, swelling the surrounding branches and sub-branches of fragmented postmodern culture until the tributaries begin to fold in upon themselves and coagulate through an overabundance of information.  This exudata manifests as an informatic sludge that secretes from every cybernetic system into a new cultural quagmire. It is liquid and free flowing, kin to the more natural exudate; a compound that is released by roots or blood vessels, a claggy cellular material that responds to infection and clogs up a surrounding area.  These veinal networks form a conceptual entanglement in which this new colloidal culture is a blurred and opaque interconnectedness afforded by new technologies and new intelligences. There is no pathfinder for these new tracks, no map to navigate. You are both inside and out, intertwined in a multiscalar polymeric structure and unable to grasp any subjective definition.


The confluence of these technological networks into indeterminable liquidity is no more prevalent than in the analogous cloud computing moniker, in which an amorphous shape constantly shifts and reforms itself.  As our data, information and lives get uploaded into a space where only gods exist, we cannot maintain an understanding of it all, as our grounding becomes unstable and the floor beneath falls away. Dichotomies that have previously been so separated such as biology and technology are soon to become so blurred we will not be able to tell where the line is drawn.  Along with the bio-technological, this phenomena of blurred duality is apparent in many contemporary signifiers such as quantum, post-truth, augmented and virtual realities and artificial intelligence. A.I creates exudate information in the same biomathematical dendritic paths, a convergence of neural networks and and their natural namesake creating a partially alternate reality.  Viewed through the lens of a new machine learnt subjectivity, computer vision fuses our own vision of reality with an amalgam of what it perceives it to be, but ultimately ends up blurry.


Nodal based logic has turned us away from the natural order of branching into the space of unnaturally entwined networks.  The network now dominates the multi directional flow, forming a perpetual now that seeps into a bayou of amalgamated oneness.  The cracks in the ground open up into a cultural delta where all knowledge flows, sediment builds up and the landscape we find ourselves in begins to fill with liquidity as the tide flows in all directions yet none at all.  One thing is for certain, the blur is becoming more apparent as we are overloaded with entangled exudate, a complexity fatigue begins to manifest itself. Soon the only ones to understand this new coagulated connectivity will be those who created the vision that came to define it.

Samuel Capps is an artist and curator whose interest lies in the intersection between natural materiality and technology. He has recently completed an MA in Critical Studies at the Royal College of Art and he is the director of Gossamer Fog, a London gallery focusing on science, ecology and technology. 

Ze Aya’s painterly and sculptural language is often one marked by precision and control, where white glistening spaces are filled with fine lines, layered with a good dosage of seduction. This careful crafting is somewhat reminiscent of those close-ups in car adverts, when a camera slowly pans over the shiny metallic body. Ultimately, a car is just another armour for us to wear. We step into that extra layer of skin to roll through the day, as the passing outside world tends to  associate the type of vehicle with corresponding personality traits. Language especially likes to link these to tropes of masculinity; there goes the muscle car, the van man, the boy racer. 

Then there are these moments of slippage or spills. Reclaiming the space of performed virility, the hard exterior opens up to reveal moments of softness and vulnerability. Perhaps even little outbursts of chaos or momentary loss of control? The recurrence of cigarettes, smoked down to various half way stages would certainly suggest this. Bodily gestures of big swipes and firm presses disrupt the otherwise clinical surfaces, revealing a choreography. Highly tactile materials like wax, silicone and leather further allude to a soft being of flesh no longer present. Like the metallic car body, these visceral materials are otherwise found in, on or around beings as a form of protection from the outside world.

This then is a marriage between hard and soft, where texture and movement give birth to an amalgamated form that thrives on contrasts. Is it a happy marriage? Ze Aya’s work forefronts disconnection and dissociation in our mental, physical and digital space. Sometimes moving fluidly between these realms and at times hitting barriers, her work is also an exploration of the self, echoing and living through changes in our current social climate. Finding a balance between aggression and delicacy, she hints towards the potential for symbolic and significant change. Is it time to go far far away, or remain, but seek distance from the you that is rejecting transformation?

Ze Aya (b. 1993) is an artist living and working in Deptford, South East London. Aya studied Fine Art Sculpture at Central Saint Martins, graduating in 2015. Her works map seduction, fragility, and ultimately love and loss, as these relationships are played out and manipulated in on and offline social spheres.

VISIT

The current exhibition is a mural and can be viewed on our windows!

We will be opening future exhibitions by appointment.

Distillery Tower
2 Mill Lane
London, SE8 4HP

VISIT

Open during exhibitions from 
Thursday - Saturday, 1pm - 6pm or by appointment.

Distillery Tower
2 Mill Lane
London, SE8 4HP

VISIT

Open during exhibitions from Thursday - Saturday, 1pm - 6pm or by appointment.

Distillery Tower
2 Mill Lane
London, SE8 4HP

VISIT

Open during exhibitions from Thursday - Saturday, 1pm - 6pm or by appointment.

Distillery Tower
2 Mill Lane
London, SE8 4HP

VISIT

Open during exhibitions from Thursday - Saturday, 1pm - 6pm or by appointment.

Distillery Tower
2 Mill Lane
London, SE8 4HP