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Gloom was the title for the exhibition and poster/invitation, though not used on the catalogue (as it was also the title of an individual piece in the exhibition, now in a private collection in Dublin). This project combined catalogue texts by two collaborators Rolf Bier and Sherman Sam translated in to English and German respectively and printed in both languages with a summary of Bick's artistic practice at a moment when it was undergoing significant change. The exhibition was therefore a key transition, involving loans from major collections in Germany (Landesbank Berlin), key private collectors in Basel (von Bartha) and new works some of which have been revised and re-exhibited (Rubicon Gallery Dublin 2004, Galerie Hollenbach 2005, The Kingston Turnpike 2006). As well as paintings drawings and objects, the artist's book “Variant” (a generic title for many of my paintings borrowed from Albers) sets out the conceptual and oblique nature of the process of layering, quotation and deliberate miss-quotation within my practice. This book is now in collections which already hold artist's books I have made, such as those belonging to The British Museum, British Library and Chelsea School of Art Artist's Book Collection.

Gloom was the title for the exhibition and poster/invitation, though not used on the catalogue (as it was also the title of an individual piece in the exhibition, now in a private collection in Dublin). This project combined catalogue texts by two collaborators Rolf Bier and Sherman Sam translated in to English and German respectively and printed in both languages with a summary of Bick's artistic practice at a moment when it was undergoing significant change. The exhibition was therefore a key transition, involving loans from major collections in Germany (Landesbank Berlin), key private collectors in Basel (von Bartha) and new works some of which have been revised and re-exhibited (Rubicon Gallery Dublin 2004, Galerie Hollenbach 2005, The Kingston Turnpike 2006). As well as paintings drawings and objects, the artist's book “Variant” (a generic title for many of my paintings borrowed from Albers) sets out the conceptual and oblique nature of the process of layering, quotation and deliberate miss-quotation within my practice. This book is now in collections which already hold artist's books I have made, such as those belonging to The British Museum, British Library and Chelsea School of Art Artist's Book Collection.

Gloom was the title for the exhibition and poster/invitation, though not used on the catalogue (as it was also the title of an individual piece in the exhibition, now in a private collection in Dublin). This project combined catalogue texts by two collaborators Rolf Bier and Sherman Sam translated in to English and German respectively and printed in both languages with a summary of Bick's artistic practice at a moment when it was undergoing significant change. The exhibition was therefore a key transition, involving loans from major collections in Germany (Landesbank Berlin), key private collectors in Basel (von Bartha) and new works some of which have been revised and re-exhibited (Rubicon Gallery Dublin 2004, Galerie Hollenbach 2005, The Kingston Turnpike 2006). As well as paintings drawings and objects, the artist's book “Variant” (a generic title for many of my paintings borrowed from Albers) sets out the conceptual and oblique nature of the process of layering, quotation and deliberate miss-quotation within my practice. This book is now in collections which already hold artist's books I have made, such as those belonging to The British Museum, British Library and Chelsea School of Art Artist's Book Collection.

Gloom was the title for the exhibition and poster/invitation, though not used on the catalogue (as it was also the title of an individual piece in the exhibition, now in a private collection in Dublin). This project combined catalogue texts by two collaborators Rolf Bier and Sherman Sam translated in to English and German respectively and printed in both languages with a summary of Bick's artistic practice at a moment when it was undergoing significant change. The exhibition was therefore a key transition, involving loans from major collections in Germany (Landesbank Berlin), key private collectors in Basel (von Bartha) and new works some of which have been revised and re-exhibited (Rubicon Gallery Dublin 2004, Galerie Hollenbach 2005, The Kingston Turnpike 2006). As well as paintings drawings and objects, the artist's book “Variant” (a generic title for many of my paintings borrowed from Albers) sets out the conceptual and oblique nature of the process of layering, quotation and deliberate miss-quotation within my practice. This book is now in collections which already hold artist's books I have made, such as those belonging to The British Museum, British Library and Chelsea School of Art Artist's Book Collection.

Gloom was the title for the exhibition and poster/invitation, though not used on the catalogue (as it was also the title of an individual piece in the exhibition, now in a private collection in Dublin). This project combined catalogue texts by two collaborators Rolf Bier and Sherman Sam translated in to English and German respectively and printed in both languages with a summary of Bick's artistic practice at a moment when it was undergoing significant change. The exhibition was therefore a key transition, involving loans from major collections in Germany (Landesbank Berlin), key private collectors in Basel (von Bartha) and new works some of which have been revised and re-exhibited (Rubicon Gallery Dublin 2004, Galerie Hollenbach 2005, The Kingston Turnpike 2006). As well as paintings drawings and objects, the artist's book “Variant” (a generic title for many of my paintings borrowed from Albers) sets out the conceptual and oblique nature of the process of layering, quotation and deliberate miss-quotation within my practice. This book is now in collections which already hold artist's books I have made, such as those belonging to The British Museum, British Library and Chelsea School of Art Artist's Book Collection.

Sight Mapping, with catalogue texts by Sherman Sam and Mark Gisbourne and an introduction by Andrew Bick, was initially conceived to support the acquisition by the Gallery of Modern Art Glasgow of a work of Bick's in 2000. Originally it was an exploration of the current condition of abstract painting in relation to my own practice, but the inclusion of artists working with sculpture installation and photography (Bier) and film and video (A K Dolven) meant that it evolved into a much richer dialogue concerning the optical and haptic in contemporary visual art, as explored by Mark Gisbourne in his essay, “To see is to behold”. Artists included came from LA (Besemer) London (Bick, Ravenscroft, Rhodes) Dusseldorf (Fries) Hanover (Bier) Bilbao (Fitzgerald), Brooklyn (Singwi) and Singapore (Sam). Funding was received from The British Council, AHRB (AHRC), Pro Helvetia, Diputacion Foral de Bizkaia as well as private sources. The fusion of video and photography with painting and drawing in the same gallery space (even visual plane in some installations of the exhibition) has become a key technique in my approach to mounting a group exhibition. At Sala Rekalde the exhibition attracted controversy (El Pais, 2 June) mostly because of the dominant position of new media within contemporary practice in Spain, whereby the deliberate reinvention of old media in relation to contemporary practice, central to my research and collaborative processes, was misinterpreted as a regressive step. Later projects, in particular “The Kingston Turnpike” and JJ Charlesworth’s text in “Memory Club” seek to clarify the nature of my position.

Sight Mapping, with catalogue texts by Sherman Sam and Mark Gisbourne and an introduction by Andrew Bick, was initially conceived to support the acquisition by the Gallery of Modern Art Glasgow of a work of Bick's in 2000. Originally it was an exploration of the current condition of abstract painting in relation to my own practice, but the inclusion of artists working with sculpture installation and photography (Bier) and film and video (A K Dolven) meant that it evolved into a much richer dialogue concerning the optical and haptic in contemporary visual art, as explored by Mark Gisbourne in his essay, “To see is to behold”. Artists included came from LA (Besemer) London (Bick, Ravenscroft, Rhodes) Dusseldorf (Fries) Hanover (Bier) Bilbao (Fitzgerald), Brooklyn (Singwi) and Singapore (Sam). Funding was received from The British Council, AHRB (AHRC), Pro Helvetia, Diputacion Foral de Bizkaia as well as private sources. The fusion of video and photography with painting and drawing in the same gallery space (even visual plane in some installations of the exhibition) has become a key technique in my approach to mounting a group exhibition. At Sala Rekalde the exhibition attracted controversy (El Pais, 2 June) mostly because of the dominant position of new media within contemporary practice in Spain, whereby the deliberate reinvention of old media in relation to contemporary practice, central to my research and collaborative processes, was misinterpreted as a regressive step. Later projects, in particular “The Kingston Turnpike” and JJ Charlesworth’s text in “Memory Club” seek to clarify the nature of my position.

Sight Mapping, with catalogue texts by Sherman Sam and Mark Gisbourne and an introduction by Andrew Bick, was initially conceived to support the acquisition by the Gallery of Modern Art Glasgow of a work of Bick's in 2000. Originally it was an exploration of the current condition of abstract painting in relation to my own practice, but the inclusion of artists working with sculpture installation and photography (Bier) and film and video (A K Dolven) meant that it evolved into a much richer dialogue concerning the optical and haptic in contemporary visual art, as explored by Mark Gisbourne in his essay, “To see is to behold”. Artists included came from LA (Besemer) London (Bick, Ravenscroft, Rhodes) Dusseldorf (Fries) Hanover (Bier) Bilbao (Fitzgerald), Brooklyn (Singwi) and Singapore (Sam). Funding was received from The British Council, AHRB (AHRC), Pro Helvetia, Diputacion Foral de Bizkaia as well as private sources. The fusion of video and photography with painting and drawing in the same gallery space (even visual plane in some installations of the exhibition) has become a key technique in my approach to mounting a group exhibition. At Sala Rekalde the exhibition attracted controversy (El Pais, 2 June) mostly because of the dominant position of new media within contemporary practice in Spain, whereby the deliberate reinvention of old media in relation to contemporary practice, central to my research and collaborative processes, was misinterpreted as a regressive step. Later projects, in particular “The Kingston Turnpike” and JJ Charlesworth’s text in “Memory Club” seek to clarify the nature of my position.

Sight Mapping, with catalogue texts by Sherman Sam and Mark Gisbourne and an introduction by Andrew Bick, was initially conceived to support the acquisition by the Gallery of Modern Art Glasgow of a work of Bick's in 2000. Originally it was an exploration of the current condition of abstract painting in relation to my own practice, but the inclusion of artists working with sculpture installation and photography (Bier) and film and video (A K Dolven) meant that it evolved into a much richer dialogue concerning the optical and haptic in contemporary visual art, as explored by Mark Gisbourne in his essay, “To see is to behold”. Artists included came from LA (Besemer) London (Bick, Ravenscroft, Rhodes) Dusseldorf (Fries) Hanover (Bier) Bilbao (Fitzgerald), Brooklyn (Singwi) and Singapore (Sam). Funding was received from The British Council, AHRB (AHRC), Pro Helvetia, Diputacion Foral de Bizkaia as well as private sources. The fusion of video and photography with painting and drawing in the same gallery space (even visual plane in some installations of the exhibition) has become a key technique in my approach to mounting a group exhibition. At Sala Rekalde the exhibition attracted controversy (El Pais, 2 June) mostly because of the dominant position of new media within contemporary practice in Spain, whereby the deliberate reinvention of old media in relation to contemporary practice, central to my research and collaborative processes, was misinterpreted as a regressive step. Later projects, in particular “The Kingston Turnpike” and JJ Charlesworth’s text in “Memory Club” seek to clarify the nature of my position.

Sight Mapping, with catalogue texts by Sherman Sam and Mark Gisbourne and an introduction by Andrew Bick, was initially conceived to support the acquisition by the Gallery of Modern Art Glasgow of a work of Bick's in 2000. Originally it was an exploration of the current condition of abstract painting in relation to my own practice, but the inclusion of artists working with sculpture installation and photography (Bier) and film and video (A K Dolven) meant that it evolved into a much richer dialogue concerning the optical and haptic in contemporary visual art, as explored by Mark Gisbourne in his essay, “To see is to behold”. Artists included came from LA (Besemer) London (Bick, Ravenscroft, Rhodes) Dusseldorf (Fries) Hanover (Bier) Bilbao (Fitzgerald), Brooklyn (Singwi) and Singapore (Sam). Funding was received from The British Council, AHRB (AHRC), Pro Helvetia, Diputacion Foral de Bizkaia as well as private sources. The fusion of video and photography with painting and drawing in the same gallery space (even visual plane in some installations of the exhibition) has become a key technique in my approach to mounting a group exhibition. At Sala Rekalde the exhibition attracted controversy (El Pais, 2 June) mostly because of the dominant position of new media within contemporary practice in Spain, whereby the deliberate reinvention of old media in relation to contemporary practice, central to my research and collaborative processes, was misinterpreted as a regressive step. Later projects, in particular “The Kingston Turnpike” and JJ Charlesworth’s text in “Memory Club” seek to clarify the nature of my position.