Updated: October 8, 2018
Asymmetric Archaeology brings together three contemporary artists whose practices incorporate elements of chaos and distortion when interpreting the urban landscape. Aedan Lee, Patrick Cremin and Will McLean act as archaeologists digging up and interpreting the world around them through personal fragmented lenses to restructure, dissect and understand their environments. The works correlate not only to their aesthetic, being exclusively rendered in tonal black and whites, but also in their analytical framework which seeks truth in the apparent bedlam of the man-made habitat.
Aedan Lee employs painting, sculpture and photography in order to understand the world around him, whilst also paying homage to the often overlooked elements of everyday existence. Lee’s black and white geometric abstractions warp with a certain compositional density and offer a cropped reality inspired by road work and construction.
At 12.30pm each day Will McLean trudges the four blocks from his office to Harmony Park, Surry Hills. There, he takes out his Staedtler Mars Lumograph 8b pencil, removes his jacket, loosens his tie, rolls up his shirt sleeves and furiously draws the other lunch goers before he is too badly sunburnt to continue or his lunch break is up. The park is next to the Surry Hills Police Centre so sometimes he draws that. Sometimes he draws the tress. Each drawing brings him ever closer to the ultimate drawing. In the evenings, after his family have gone to bed, he places a 56cm x 76cm sheet of Saunders Waterford Hot Pressed paper on a masonite board and, whilst listening to BBC4 John LeCarre radio dramatisations, he enlarges the sketch from earlier in the day with the same pencil. Again, bringing him closer, ever closer to the ultimate piece of art.
Patrick Cremin is a multi-disciplinary artist. His practice explores contempory states of dread and conflict through painting, photography and sculpture. In this series of paintings and drawings, Cremin explores the psychology of urbanised space.
His abstracted, ruinous and barren landscapes are littered with monuments, archways, stairwells, fences and gates; a wasteland of archetypal features of the urbanised landscape. These architectural forms are fragmented and reconstructed within Cremin’s work to reflect the anxiety and paranoia that gives rise to defensive architecture and simultaneously pervades urban space.