Hyo Myoung Kim, Antony Hall, Charlotte Beckett and Giovanni Ozzola merge the concept of movement with the requirement to slow down and see the works. These opposing concepts provide a magnetic visual effect inviting the audience to engage with the work without questioning the importance of time.

With the 2012 London Olympics expecting over 4 millions visitors from across the globe, Gazelli Art House will also present new, specially commissioned works  for On the Move that will explore the ‘movement’ this event will create in the city.

Hyo Myoung Kim creates works that contemplate the connection between pixels in digital images and modern art. Recent technologies such as ‘Retina Display’ hide the visual base of a grid by making the pixels smaller; however, this illusion breaks down upon closer inspection. What becomes apparent are the rows of rectangular colour blocks – what Kim perceives as a reflection of the visual language of modern art - Cubism, De Stijl and Minimalism. As Kim explains “From a distance, a digital image could be a Vermeer or Dürer. Up close, it looks like a chance-based painting by Kelly or a Richter painting”. These two opposing sides – the real and the antireal – sit together in the same image but only one side can be visually perceived at one time.

For Gazelli Art House, Kim will present a series of new works including a digital print entitled ‘1,001 Nights’. A pun on the title of the Arabian story, ‘1,001 Nights’ night photographs are amalgamated together with only the bright parts of the photos remaining in the image. A quick Google image search of “night photography” results in thousands of photographs of moody night scenes. ‘1,001 Nights’ by Hyo Myoung Kim is a collection of these low resolution thumbnails, resized to 1,001 x 1,001 pixel square image.

Hall is known for his ability to use the visual arts as a medium of teaching science and demonstrating scientific concepts. His aesthetic, sculptural pieces are used to encourage creative experimentation in the quest to uncover scientific secrets. Previous examples include photography workshops that cover visual perception and colours. Here Hall took various optical illusions as a reference to show the phenomenon of stereo vision and the development of moving image techniques. For Gazelli Art House, Hall will present several new works that explore fluid motion. Discrete objects that attempt to defy entropy, harnessing elements of potential and kinetic energy and self-perpetuation. Works include ‘Perpetual Puddle Vortex’ whereby liquid will drop down a hole in a puddle that never reduces. Aside from the vortex, Hall will also showcase a new series of honey and resin injected perspex sheets in order to demonstrate the interaction of various materials. As Hall states “I am interested in how we interface with science and technology, visually, physically and ideologically, and how these interactions effect us creatively and socially.”

Just as flipbooks create animation through a rapid succession of individual photos, so Ozzola strives to represent the movement of light. Ozzola recaptures individual images of his own vision, impressing them on the paper as though they were a blinking of the eye. Light is the recognisable sign of the passing of time. It is sunlight, the physical phenomenon that marks out our days, but it is also artificial light that guides the eyes and defines the objects. Light is a wave that enables us to perceive matter, but it is also a means for impressing an image and bringing it to life.

For Gazelli Art House, Ozzola invites the observer to embark on a cognitive experience and he does so by reconstructing a new level of time. Ozzola will present a new work entitled ‘Consequence - almost dark’ 2010. The work consists of a triptych of large-scale photographic images (each over 2.5 metres high) that represent a water surface animated by ripples, seemingly caused by drops formed by the humidity of its surrounding environment – in this case the gallery itself. The images take the viewer to a suspended, indefinite time, capturing them in an absolute and almost metaphysical dimension. ‘Consequence - almost dark’ will be exhibited alongside a new video installation Alba, 2009, which again depicts an illustration of time and the effect it has on light. The video show an interior setting and how the light changes over the course of a day.

The work of Charlotte Beckett is made from discarded materials such as plastic and tape as well as mechanical components such as the use of a motor. The works begin as seemingly inanimate objects but close inspection shows them expanding and contracting as if breathing thus making a direct reference to change and movement. As Beckett states “The repetitiously falling and turning objects occupy an ambiguous state somewhere between hopeful anticipation and banal recurrence, as they mechanically perform tasks that straddle and confuse the boundaries between optimism and futility."