Submission
Stanley J Buglass, Lucia Farrow, Mila Rowyszyn

Silver Sunsets

The works in Silver Sunsets express a continuity taken from the road. A collaboration steeped in friendship from time shared on the “secular communion” of the “rapture-of-the-freeway” (Didion). The artists share an intoxication with the sensuality and texture of the metallic within the everyday. Attracted to corporeal qualities of metal objects found in their sleekness and shininess. All three artists share a kind of likeness which are expressed in very different mediums, whereas Rowyszyn’s camera acts as a filter between herself and the world to document its likeness in her own kind of texture, Farrow’s infatuation with clay/mirrors allows her to utilize them as a portal that flits between the contemporary and the ancient, herself and not. Buglass’ preoccupation is with the ambiguous object, itself that was once demarcated and no longer exists in relation to another.


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Silver Sunsets - Stanley J Buglass @stanbuglass - Alloy Wildflower
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Silver Sunsets - From left to right Stanley J Buglass @stanbuglass, Mila Rowyszyn @mila_rowyszyn, Lucia Farrow @luciafarrow
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Silver Sunsets - Opener
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Silver Sunsets - Stanley J Buglass @stanbuglass - Car Sculpture
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Silver Sunsets - Stanley J Buglass @stanbuglass - Arm Rest 01
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Silver Sunsets - Stanley J Buglass @stanbuglass - Arm Rest 02
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Silver Sunsets - Lucia Farrow @luciafarrow - Silver Roadkill <3
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Silver Sunsets - Lucia Farrow @luciafarrow - I Love You.Caeramix.Artifact
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Silver Sunsets - Lucia Farrow @luciafarrow - No Filter Au Natural. Mirror
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Silver Sunsets - Detail - @stanbuglass @luciafarrow
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Silver Sunsets - Lucia Farrow @luciafarrow - Mercedes Bow-Tie
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Silver Sunsets - Lucia Farrow @luciafarrow - Obsidian.Mirror.Tablet
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Silver Sunsets - Mila Rowyszyn @mila_rowyszyn - Road View 1,2&3
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Silver Sunsets - Mila Rowyszyn @mila_rowyszyn - The Gate, 'Theres No Exit And Its Dark'

The works in Silver Sunsets express a continuity taken from the road.

A collaboration steeped in friendship from time shared on the “secular communion” of the “rapture-of-the-freeway” (Didion).

The artists share an intoxication with the sensuality and texture of the metallic within the everyday. Attracted to corporeal qualities of metal objects found in their sleekness and shininess. All three artists share a kind of likeness which are expressed in very differ- ent mediums, whereas Rowyszyn’s camera acts as a filter between herself and the world to document its likeness in her own kind of texture, Farrow’s infatuation with clay/mirrors allows her to utilize them as a portal that flits between the contemporary and the ancient, herself and not. Buglass’ preoccupation is with the ambiguous object, itself that was once demarcated and no longer exists in relation to another.

Like sparrows to silver bows,
A magnetism from metallic iron in viscous blood To a steel brake disk, draped in grease and dirt.

Screeching leather, broken speakers Diesel rasp, Angelic rain
And
Desert tourists scavenge.

Roadkill, crash debris, pearlescent oil spill followed by the smell of skunks
Alloy carcass reported on the 101 South.

From a cameras vision
From the earth
And from the wreckage
Damp temptation slides west to east and east to west transcending through alloy motorized suspension

A window to the orange heat of the blue horizon Darkening to become night
The orange light shatters and reflects on chrome
An effervescent reverberation on the highway to home

Silver sunsets.
Stanley J. Buglass lives and works in London. His work employs a sense of human trace and interaction with a clear distinction in absence of the body, through the use of fragmented markings and symbols. Highly reminiscent of public and private property de- facement on found material as the signifier for this exchange. Buglass is interested in a notion of ‘object memory’ in this respect. His use of sculptural material is sought to have a sense of the commercial in design, continually searching or scavenging for found forms to manipulate, he studies and rearticulates the shapes of appliances used. They become objects in which we cannot always fully recognise nor materially control, relating to the artists thoughts on the reduction of knowledge of the network of systems and media used by us in the present day. In this exhibition ‘Silver Sunsets’ Buglass utilises these ideas of artwork production in rela- tion to a recent visit to Los Angeles, CA and the materials and devices used within modes of transportation and waste reclamation within the city.

Lucia Farrow is a Venezuelan born, Los Angelian native currently studying at Central Saint Martins. Her work is an ode to clay as an extraterrestrial, reflective, technological matter. Having never been fully a part of a country or culture, clay allows her to form connections to land in a new, hybridized way. Surpassing ideas of nationality and time periods, Farrow’s work weaves notions of the contemporary and ancient amongst objectifications of the self and new forms of artifact. Playing with the aesthetic com- binations of cuteness and violence within women, Farrow often makes her ceramics look like metal or mirrors, a stark physical contrast with the softness and malleability of clay. Combining this harshness with bows, chains, and girlish qualities, clay acts as a blueprint; a mirror in which to reflect herself in. The quality of clay to be intrinsic and dirty lends itself as a sensual and intimate medium for Lucia.

Mila Rowyszyn, a lens based artist from Poland presently studying Fine Art at Central Saint Martins. Fascinated by the hoards of pointless photos released online that have the aim of nothing else but to zoom into one another’s privacy, Rowyszyn considers everyone, including herself to be a ‘fallen blogger’. Victims and perpetrators of spam, who through continuous documentation meld their lives into one continuous and indistinguishable sequence of faces and events. Inseparable from habit or practice, Rowyszyn’s images are of a worldy voyeuristic nature and weld her and her life into one photographic reel.