Chaosmos II is curated by lead artist Chris Boyd, who won Channel 5’s Big Art Challenge, Fact’s Microwave Award and the Priestley prize. He bears the mixed blessing of having been described as a ‘genius’ by Brian Sewell, an art critic not renowned for conferring faint praise (or, often, any). His arts initiative here shows the research and development of a gamut of artwork in different media, animations, video and live art.
Chaosmos, a Joycean coinage describing the paradoxical combination of order and disorder, integrates a range of traditional artistic and artisan skills with cutting-edge post-production techniques. The exhibition features a fascinating collection of international and renowned art in a thought-provoking, sometimes startling array.
James Roper's large paintings give an insight into the complexity of this show. Like Rorschach tests his images ask to be interpreted in many different ways. A group at the exhibition variously identified one image as a 'Morrocan leather statuette', a 'nun' and a 'ghost', while another was a 'series of underground tunnels' and an 'umbilical cord.' The internecine plots lie somewhere between fractal computer imagery and forensic diagrams.
This is a departure even for the innovative View Two gallery, and well worth a visit even though there is so much to see in this Biennial. A huge exhibition over three floors, put some time aside to do it justice.
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