Durbin Lewis Ltd acts as a fictive shop/brand/dealership. While not oscillating around a singular creative personal narrative, it presents art objects under a naming strategy more akin to the distribution systems through which these objects are to be consumed. Working with photographic sculpture, which heavily utilises furniture and artifacts from previous centuries, the work negotiates non-tangible space as the duality between image as object and the haptic encounter between objects within photographic space. Through various photographic processes there is a conscientious desire for the glitch, error or filter effect as demonstrated by the proliferation of services such as Instagram. This is manifested in the hybrid workflow of analogue and digital methods where the ‘effect’ in digital terms is generated through purposeful analogue error; i.e. cross process, bleach bypass, redscale, expired film, non-camera film. Visual glut is used to oversaturate and overfill images to a point where the physical colour rendition of the image fractures and derails the surface of the content. This approach, being overt and congested, is used in conjunction with the aesthetic of objects and materials that span a wide array of appreciative values yet utilise our seemingly universal ability to sense when objects are designated ‘old’ through dissociation to the ‘new’.

It is mahogany of the late nineteenth century, presently used for the ponderous heftiness of the aesthetic especially symptomatic of the middle class societies of the Victorian era and their values, that has been subsequently bequeathed to Britons of today. At times an object may carry a dual material value of both, production and worth. This phenomenon may become indicative of societal values of the time in which the object was produced, as well as the times that may follow. The capacity of objects to fulfill the desire and sensibilities of the people who produced and consumed them at the time of the objects’ inception further evolves and changes as these artifacts are separated from their contemporaries and original contexts – when they are broken away from the time of their origin and seen through the eyes of the bequeathed.

Durbin Lewis Ltd’s work #Victorian #mahogany #19thcentury #wardrobe #chiffonier #dining #chair #diningtable #dropleaf #table #bedsidecabinet #chestofdrawers #damask #silk #curtain #rubber #ratchetstrap (We are not ready yet) is part of ‘Young Masters Dialogues’ at Sphinx Fine Art, until 24 October 2014.