First Unaffected Unaffected Formal Effects Last
Date: 2 October 2010 - 4 December 2010
Gallery: Cooper Gallery
First Unaffected  1 October, 6-8pm
Unaffected Formal  29 October, 6 -8pm
Effects Last  26 November, 6 -8pm
The Scottish debut of Cullinan Richards at the Cooper Gallery, DJCAD.
The London artist duo Charlotte Cullinan and Jeanine Richards have been working together since 1998. First known as Artlab, then as Cullinan Richards they have produced and exhibited numerous works which utilise and reinvent conventional art forms including painting, performance, and sculpture. These works create an in-between-state that deals with support structures both real and conceptual, questioning the position of the art work and the formality of an exhibition.
To maintain an early crucial strand in their practice to make 'sculptural platforms' to show their own work and that of other artists, Cullinan Richards have constructed a large sculptural light box entitled 'Savage School Window Gallery'. Placed in the front window of their studio in Vyner Street in London, the light box displays invented texts by themselves and invited artists. The 'Savage School Window Gallery' will travel to Dundee and be in residence during their exhibition at the Cooper Gallery.
Cullinan Richards' first Scottish solo exhibition at the Cooper Gallery: First Unaffected Unaffected Formal Effects Last will consist of paintings, sculptures and exhibition previews. The artists will employ a number of techniques to call attention to the finality of an exhibition and undermine the apparent contract of an opening.
Cullinan Richards have exhibited widely internationally, including The Whitechapel Gallery, Mead Gallery, South London Gallery, Mobile Home Gallery, Museum of Contemporary Art Seville, Daniel Spoerri Foundation Italy, Whitstable Biennale, Kunstmuseum Lucerne Switzerland, and Charles H Scott Gallery Vancouver CA. Cullinan Richards will show work at the British Art Show 7, opening in Nottingham in October 2010.
"The collaborative duo Cullinan Richards make installations that look like studio art labs. All the media of fine art are touched upon – painting, sculpture, photography, film, drawing – yet these tend to be arranged as if in a workshop of cultural enquiry, with references to historical contexts and hints of the autobiographical.''
- Robert Clark, The Guardian, 15 August 2009
"(In Cullinan Richards work) Symbolic and allegorical meaning is repeatedly implied in this work but may not amount to more than a fascination with the imagery of female recklessness and daring. But the proof of the work is not in its imagery; it's in an endlessly inventive and heedless practice of making and transformation that overwhelms all reference."
—Barry Schwabsky, Artforum, May 2008