Joseph Whitmore

26th August 2016 — 3rd November 2016



The exhibition is a collection of works, grown out of ongoing research that has informed the artists practice over the last few years. It is the first time that these works have been presented together in such a way and in addition there are some new temporary sight specific paintings on brick, the fabric of the building. These delicate new paintings at the center of the exhibition attempts to draw out connections between material, marks and process.

“CROPMARKS – wherever a ditch or pit has been dug into the ground it will have filled with soil looser than that around it. Cereal and lugiminous crops over the disturbance will grow darker and higher due to greater humid and moisture content.”

“Crop marks, also known as trim marks, are lines printed in the corners of your publication’s sheet or sheets of paper to show the printer where to trim the paper. They are used by commercial printers for creating bleeds where an image or color on the page needs to extend all the way to the edge of the paper.”

It can be said that if the knowledge of our past is controlled and edited, then so can our present and future. A cropped image has the power to mislead its audience. A cropped image of the past has the power for further images to be wrongly interpreted. With control of the frame, comes the power of what will be viewed. In certain aspects of traditional archaeology there lies a dogma in which the current story of humanities past is not allowed to be fluid. Humanity is now guilty in the present day of editing our own image, thus making us the designers of our own artefacts.