gaelen pinnock

[artist]
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Selected Projects:
  • Barricade
  • X Y Z
  • Something to Declare
  • Right of Admission Reserved
  • Fortress (Sculptures)
  • Fortress (Print)
  • Invisible Cities
  • Citadel typology 1
  • Citadel typology 2
  • Citadel typology 3
  • Dystopias
  • Home Series
  • Monoliths
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News:

"in security" showed recently at A4 Arts Foundation.

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"X Y Z" showed at 99 Loop Gallery. in September 2021

99 Loop Gallery

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Work showed in the Zeitz MOCAA, Cape Town, 2019.

zeitzmocaalogo

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Instagram Feed:

 
Bouquet #1 Gates, guards, spikes, fences, cops, c Bouquet #1

Gates, guards, spikes, fences, cops, cameras, alarms, dogs. Ubiquitous and crazy, yet kinda invisible. 

My landscape informs my work. I gather scattered artefacts that litter my city and I recompose them, part parody, part catharsis.

This work was exhibited in "A Good Time" curated by @michaela_limberis at @aspireartauctions in October 2022.
Totem #3 was exhibited in "Goods", @a4artsfoundati Totem #3 was exhibited in "Goods", @a4artsfoundation 's project space. The show, curated by @nkhensanimkhari , was called "in security." 

Here is the "in security" show text:

In the June iteration of Goods, artist Gaelen Pinnock and A4 Assistant Curator Nkhensani Mkhari present "in security", a research project created in dialogue. Pinnock uses the boundaries and thresholds found within a city and its surrounding suburbs as material in a small series of sculptural assemblage works. In security is an exploration of the visual culture of power, security, land ownership, and divisive spatial planning communicated by fences, barbed wire, security cameras and more. What ideologies are embedded in these materials and how do they reflect upon our current socio-cultural landscape? Can they be transformed from tools to discourage and instil fear, into invitations for contemplation? Pinnock’s sculptures become obstacles within a project space at A4 that functions as Goods’ entrance, and emergency exit.

About Goods:

Goods is a project space for work in process and thinking aloud. Creative practitioners are invited to rapid prototype exhibition-making through monthly offerings that are shared with visitors. The location’s transitory nature as a thoroughfare is reflected in Goods’ fast-paced, open-ended, multi-disciplinary programming. The small scale of the physical space encourages light-footed navigation of curatorial and artistic practice, in its many forms.
Bouquet #2. Artefacts from a fractured landscape. Bouquet #2. Artefacts from a fractured landscape.

#sculpture #architecture #steel #geometry #fortress #enclave #city #industrial #streets #control #fragment #dystopia #gentrification #militaryindustrial #neogothic #floating #artwork #art #artist #contemporaryart #construction #neoconstructivism #security #artepovera #divisions #capetown #southafrica #gaelenpinnock
Fieldnotes Fieldnotes
Fieldnotes Fieldnotes
Fieldnotes Fieldnotes
Totem #4 was exhibited in "Goods", @a4artsfoundati Totem #4 was exhibited in "Goods", @a4artsfoundation's project space. The show, curated by @nkhensanimkhari, was called "in security." This work is currently showing at @graham_contemporary.
Totem #1 was exhibited in "Goods", @a4artsfoundati Totem #1 was exhibited in "Goods", @a4artsfoundation's project space. The show, curated by @nkhensanimkhari, was called "in security." (See previous post for exhibition text)
Totem #2 was exhibited in "Goods", @a4artsfoundati Totem #2 was exhibited in "Goods", @a4artsfoundation 's project space. The show, curated by @nkhensanimkhari , was called "in security." (This work was also exhibited at the 2022 @turbineartfair and is now part of @modernartprojectssouthafrica 's collection). 

Here is the "in security" show text:

In the June iteration of Goods, artist Gaelen Pinnock and A4 Assistant Curator Nkhensani Mkhari present "in security", a research project created in dialogue. Pinnock uses the boundaries and thresholds found within a city and its surrounding suburbs as material in a small series of sculptural assemblage works. In security is an exploration of the visual culture of power, security, land ownership, and divisive spatial planning communicated by fences, barbed wire, security cameras and more. What ideologies are embedded in these materials and how do they reflect upon our current socio-cultural landscape? Can they be transformed from tools to discourage and instil fear, into invitations for contemplation? Pinnock’s sculptures become obstacles within a project space at A4 that functions as Goods’ entrance, and emergency exit.

About Goods:

Goods is a project space for work in process and thinking aloud. Creative practitioners are invited to rapid prototype exhibition-making through monthly offerings that are shared with visitors. The location’s transitory nature as a thoroughfare is reflected in Goods’ fast-paced, open-ended, multi-disciplinary programming. The small scale of the physical space encourages light-footed navigation of curatorial and artistic practice, in its many forms.

Artsy Profile:

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Gaelen Pinnock

Something to Declare

"Something to Declare"

"Something to Declare"

Photo of the final installation. Constructed out of bamboo, wire, nails, enamel paint and fabric.

"Something to Declare"

"Something to Declare"

Photo of the final installation. Constructed out of bamboo, wire, nails, enamel paint and fabric.

"Something to Declare"

"Something to Declare"

Photo of the final installation. Constructed out of bamboo, wire, nails, enamel paint and fabric.

"Something to Declare"

"Something to Declare"

Photo of the final installation. Constructed out of bamboo, wire, nails, enamel paint and fabric.

I created this temporary installation for the LagosPhoto festival in 2019.

“Something to Declare” was a large sculpture that inhabited a space under Falomo bridge, linking Ikoyi and Victoria Island. For the festival, numerous artists interpreted the theme, “passports” by looking at a diverse range of subjects such as migration, heritage, identity, belonging etc. I tried to create an intimidating structure that echoes recent isolationist tendencies of nation states and the bureaucracy and alienation associated with this. The sculpture envelops a mythical, fragile core, much like the constructed identities at the heart of the nation state.

“Something to Declare” is made from a few hundred meters of bamboo, a local Nigerian construction material, the work had an imposing presence in the busy intersection.

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I wish to extend my gratitude to the organisers of LagosPhoto for inviting me to participate and helping facilitate this intervention.