Crux: James Trimmer

Artists R M Phoenix, Dmitri Galitzine and James Trimmer's latest works are part of an exhibition exploring the instability of visual meanings and the power of perception

Mr Moustachio‏- James Trimmer

Crux is an exhibition showcasing brand new works by three, London based, emerging artist. The project, curated by Natasha Hoare and Roxie Warder, features artists Dmitri Galitzine, R. M Phoenix and James Trimmer, who have created work specifically developed from an exchange of ideas based upon the investigation of knowledge and truth. The artworks reflect our vulnerability and instability when perceiving visual meaning. Through mediums such as sculpture and painting, materials are manipulated to contort and twist how we, the viewer, interpret and understand what is seen.  We spoke to James Trimmer to find out more about the project and which new artists he thinks are worth checking out.

Dazed Digital: How did you get involved in exhibiting in the crux show?
James Trimmer: I was approached by Roxie, who I had studied with at Brighton University, about the idea of doing a show with R.M. Phoenix and Dmitri Galitzine. I had a few discussions with Roxie and Natasha about plans for the show and that got me really excited to be involved.

DD: You were asked to create work that explored the idea of the instability of visual meaning and the effect/powers of perception, how did you take this concept and translate it into art?
James Trimmer: I started by looking at Durer's 1515 rhinoceros print which, despite it's inaccuracy, was taken as fact up until the late 18th century. The drawing was made without Durer having ever seen a rhinoceros using only some crude sketches and an eyewitness account of the animal's features as his source material. This got me interested in our perception of knowledge that is always in a state of flux which we often accept as unchanging fact. By creating a collection of images based on the eyewitness accounts and dubious photos of sea monsters I wanted to take ambiguous sources and treat them as fact to make a narrative corrupted by the short comings of language and the Internet's factual ambiguity. The Internet is the source for this set of images, building fact on unstable foundations. As a contrast I also created an image of something known, that started as a painting but that has been embedded with print outs of photos of the painting that have been corrupted digitally, the visual meaning being distorted by the chance effects the process has on the image.

DD: Can you tell us more about the new work you created? (materials used and why etc)
James Trimmer: I have used various media: etching, photography, drawing and painting. Each material and medium comes with its own historical and cultural baggage. I am interested how, in a world saturated by images, this baggage has permeated a collective unconscious, and can impact on the viewer's experience of an art work.

DD: Tell us more about your collaborations with the collective Tropical Paintings From Outer Space and photographer Daniel Sanwald.
James Trimmer: The collaborative works with Tropical Paintings From Outer Space have all come out of sharing writing, images and videos via email. Out of this communication we have made images that are passed around digitally and worked on by different members of the collective, which have been made into posters and have been plastered on the walls of some of the TPFOS shows. Here we also exhibit non-collaborative works. The last show we did was at the Bristol Diving School in Bristol, where we displayed a shelving unit along with other works, that was playing music and exhibiting the same sources of inspiration we had been passing round in emails.

For the work I have done with Daniel Sanwald I work directly onto photographs he has taken, using various materials to distort his images. We will talk about what we are looking for in the results, but I am given fairly free reign. Photographic prints are fun to work with as you can effect them by removing as well as adding, for instance, using white spirit to destroy parts of the image to create a different picture plain. The end results have been published in L'Officiel Hommes Germany, Süddeutsche Zeitung Magazin and Wallpaper*.

DD: Have you ever shown work alongside R.M Phoenix or Dmitri Galitzine, who are also featured in this exhibition, before and are you familiar at all with their work?
James Trimmer:
I have never shown with either artist, but I am familiar with both their work and am excited to be showing alongside them for the first time.

DD: Which emerging artists inspire you and why?
James Trimmer: Julius Hoffman really inspires me, he creates a perturbing introspective environment with his jagged aesthetic. He works in a variety of media (painting, film and sculpture) that all combine to create a narrative and in turn a glimpse into this world.

Crux, 5th-14th October 2011, The Slaughterhouse, Kingsland Viaduct, Arch 372 Geffrye Street, E2 8HZ

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