Chaosmos is an arts initiative that aims to research and develop the production of an array of mixed media artwork, animations, video and live art. It is curated by Chris Boyd, the Lead Artist, and platforms a collection of international and renowned art in a unique exhibition that investigates turbulent visual planes within the conceptual framework of Chaosmos (a Joycean coinage).
The exhibition attempts to map meta-physical states, track intermittent interference whilst revealing a preoccupation with the creative process, pictorial puzzles and the integration of traditional artist techniques with current post production methods.
Chaosmos - the order inherent in chaos is described by French philosopher Gilles Deleuze as a "plane of immanence."
"Nothing distinguishes me ontologically from a crystal, a plant, an animal, or the order of the world; we are drifting together toward the noise and the black depths of the universe, and our diverse systematic complexions are flowing up the entropic stream, towards the solar origin, itself adrift."
"In every whirlwind hides a potential for form, just as in chaos there is a potential cosmos. Let me possess an infinite number of unrealised, potential forms! Let everything vibrate in me with the universal anxiety of the beginning, just awakening from nothingness!"
Chaosmos and BoydWritten by Victoria Samantha Smith
22 September 2010
In 2006, he curated and exhibited in Chaosmos at the View Two Gallery. This was a highly successful show that platformed the contemporary art of several recent northwest graduates. Boyd exhibited a range of work in this show, but it was his signatory film ‘The Calling’ that grasped the audiences attention.
A digital video short that combines the sense of high art on par with Renaissance culture and digital media. The film portrays a sequence of undulating bodies like a sea cascading to culminate into a spiral; as the scene changes and moves outwards it transforms into a galaxy. A profound, ethereal and thought provoking digital short that touches on the meaning of existence.
Early 2010, Boyd commenced with creative and curatorial research to organise Chaosmos II. He consulted with national and international artists whose work imbued the philosophies of Chaosmos. In conjunction with this, as lead artist, he created a new series of art to be launched in this show. Chaosmos II is a cross-disciplinary initiative where artists from the literary, theoretical and visual arts sector come together.
The Chaosmos II programme consists of an array of alternative events
from Live Art, VJ Performances, Artist Talks with
I attended the exhibition and interviewed Chris Boyd.
VSS: What are your early professional developments as an artist?
CB: I wanted to make moving paintings. The short videos I made were visceral cathartic experiments and I was experimenting in sound composition. These felt like symbolist self-portraits and included materials that I associated with a Eurasian inheritance. Many of the eccentricities in the work came from dream imagery and drawings. As a student, I was commissioned to make music videos and involved in other productions where I gained further insights into its exclusive skills. These I would use later in merging production with my philosophical preoccupations.
VSS: What are the ideas that form your work?
CB: At university, I established a groundwork for concepts and themes which I’m now working on in a video installation project called Accelerated Self. In this work, I began marking myself as an author into my own work. I discovered that my ideas fell naturally within the Deleuzian theoretical approach to Chaosmos. My work deals with the idea of space and liminality, how these move and interchange with each other in different contexts. I’m interested in these hallucinatory planes, the blurring of reality and representation, glitches and marks where content mutates into form and materiality.
VSS: Brian Sewell called you ‘an undisciplined genius’ during the judging for the Channel 5 Big Art Challenge UK Art Prize when you were selected as joint winner. How did you feel about his comment?
CB: He was very enthusiastic and interesting to talk to. His feedback was immensely helpful and I felt it was a confirmation and recognition of what I was trying to achieve. It has helped me move forward with an assurance that I didn’t have before.
VSS: Can you explain more the genesis of Chaosmos as a curatorial project?
CB: It started in 2006 as an exhibition launched in the View Two Gallery during the Liverpool Biennial. The aim was to bring forward a group of recent Northwest graduates who touched on a range of creative concepts and techniques. I was one of the artists, but also worked as the Curator to organise and manage it. The title was very much an extension of the theoretical interests I pursued in my work and one that can be opened up to potential detours. It was always my aim to follow up with another exhibition. This took a while as I spent time between the music industry and creative industries on commissions in the UK and US. By 2010, I started researching other artists whose work fell within the remit of the Chaosmos ideas. The exhibition was organized into thematic levels corresponding with each of the galleries floors. The first level was a material starting point. The second level deals with bodily and socio-political boundaries and the third level with virtual spaces, invisible forces, digital, metaphysical and entropic states. These were corroborated with an intentional religiosity. The spatial rhythms are reflected in the iambic pentameter in the haptic poetry for each of the levels and the content with the other this visual language.
VSS: What do you hope to realise from the Chaosmos II exhibition?
CB: Chaosmos is very much an ongoing initiative. It is something that formulates some of the ideas behind my own creative practice, but extends into how art is viewed and experienced. After the 2010 exhibition, there are prospects to develop this curatorial theme, as the feedback from both the past and current Chaosmos exhibitions has been positive and constructive.
VSS: What are your future plans?
CB: I will be focusing on a new collection of video art and a series of sculptures. One of the narrative projects I’m moving forward with is a meditation on violence. Chaosmos will continue.
VSS: What do you want your legacy to be and to be remembered for?
CB: If anything I would like people to remember my work.
VSS: Thank you for taking the time to answer my questions. Good luck for the future. I will be watching the space of ‘Chris Boyd’ for new and exciting projects.
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