Working almost exclusively in monochrome, Mark Dean’s subject matter is often based on the recycling of old archive film, extracts of which are presented in repetitive video loops, whose images, strong on perspective, either converge upon or diverge from a vanishing (or materialising) point. In one of his recent works, The End (Mad Max + 90 x 4) (1999), a never-ending highway looms, endlessly, towards the viewer, the seemingly infinite, flat horizon never getting closer – those last few moments at the end of the film before the fade then the credits. The catch is that Dean has rotated the whole caboodle, through 90 degrees, four times (hence the title), with the centre slightly out of register, so we witness four distinct lines of white road markings, fruitlessly luring the horizon in, leaving a void in the centre of the screen, into which our eyes are irresistibly drawn, as if hurtling into an endless tunnel. In a recent installation, Ascension (Nothing/ Something Good) (2000), Dean creates a similar visual phenomenon with words, which process, radially, like a starburst out of a point in the centre of the screen, the word ‘nothing’ negating its presence over and over again like a repetitive mantra.
The £50m refurbishment project has been led by architectural firm Stanton Williams, and features areas that the public can use without having to buy a ticket to a performance.
The start-up has a new visual identity designed by Wolff Olins, one year after being embroiled in a host of scandals, and two years after its last brand was launched
Created by in-house designers, the store aims to have an “immersive” feel to help customers imagine products in their own homes.
From 20-23 September, London’s Designjunction takes place on the South of the River Thames, and will see installations, exhibitions, talks and its well-known fair spread across three venues including Doon