Jemima Brown, Eve, Installation View The Agency, 2009, mixed media assamblage with video

Jemima Brown, Richard Raleigh, 2009, mixed media assamblage featuring video

Jemima Brown, Isobel, 2009, mixed media assemblage featuring sound

Jemima Brown, 50% Of Nothing

S.T.O.R.A.G.E Giles Eldridge

21 Nov 09-16 Jan 2010( except16Dec-5 Jan)

The Agency is pleased to present the latest multimedia work by Jemima Brown - a series of 7 new sculptures assembled from wax casts, video or sound elements and found objects, 50% of Nothing suggests itself as an apocalyptic art world genealogy, situated somewhere between Surrealism and Cyborg aesthetics. With characters such as ' Frankthepos t' and ' Thedealisoff ', the work offers pointedly amusing and none too subtle sociological observations of stereotypes. However on closer inspection the work's purpose gravitates towards unravelling the aesthetics of figuration or narrative meaning, and to varying degrees begins to dissolve the sculptures themselves; an interesting proposition given that this is the first body of work by Jemima Brown to consist entirely of three-dimensional freestanding works.

'Isobel' is the sculpture, which most clearly reveals Brown's play on ciphers instead of figurative accuracy. A head, a hand, a leg, a collapsed table and chair, all held together by shreds of clothing and accompanied by the sound of an endlessly boiling kettle form an assemblage, which the viewer reads as a figurative piece, but it is essentially a collage of body parts and objects which are all equal to each other. This technique builds on previous sculptures such as 'The Shoreditch Slump ', 2007 and 'Georgina and the Dragons' , 2009 (contributed to the exhibition Multivers e, curated by Ole Hagen).

'Richard Raleigh' is a standing sculpture with minimal gravitational hold assembled in reverse, and quite literally up in the air trapped by his folded bicycle. Held together by fluorescent cables, which escape into an independent drawing around or despite the sculpture and explained by a video, which shows motion from an unseen vantage point, the piece starts out as something that is at first literally understood but which then subsequently decomposes or transmutes during the viewing process. Brown has tackled this subject matter in her earlier sculptures of hybrid animal dolls and in her first experimentations with avatar ' Dolly' . In the age increasingly defined wireless technology, of fluid identities created with matching sequences rather than authentic markings Brown offers a hybrid representation with communication technology as the avatar for sculpture itself. Stuck in a halfway house between performance and sculpture, the works could be dismantled and reassembled in any number of combinations. This open-endedness   is the work's strength.

Accompanying the exhibition is a series of Brown's Facebook Drawings , taken from over a hundred drawings of people's avatars on Facebook from straightforward portraits to Disney characters and smileyfaces, a veritable dictionary of alteregos.

S.T.O.R.A.G.E

Giles Eldridge

Giles Eldridge, Scratch Against Silence Slow, 2009, painting and drawing assemblage, detail

Giles Eldridge's work comprises of variational arrangements of pre-existing works whose component elements include paintings, drawings and Polaroid photographs. Amassed in a constantly expanding archive Eldridge claims no loyalty to the images he creates, pulled from this archive individual works become grouped, and images become held momentarily at a point of stasis. Ascribing no interconnection, narrative or formal aesthetic to these clustered fragments, the presence of the work, in paradox, precariously testifies to these exact preoccupations. The arbitrary circumstance of their initial invitation from a world of fast-paced visual stimulus reaches epiphany in their endless remix.

Giles Eldridge, Scratch Against Silence Slow, 2009, painting and drawing assemblage, detail