Angela Bulloch

Europe, Comma, Cube



UV-direct print on Alu-Dibond, turquoise PU-hard foam rivet in two parts joined with screws, permanent ink

35 × 50 cm

Edition of 20 copies, signed and numbered by the artist


In stock

This edition is published by Hatje Cantz

Pick up at / ships in 5 to 10 business days from Berlin (DE)

about this work

Europe, Comma, Cube consists of a print on Alu-Dibond that hangs on a nail on the wall from a rhombic turquoise PU-hardfoam rivet. The rivet has a central opening through which the wall is visible. The print shows a tiled cube pattern. The tiled motif is based on classical geometric pattern which has been shaped into a comma and subtly bent. The pattern provokes a perceptual illusion that entails a back and forth between seeing the motive of a cube in a two-dimensional plane and then again as representation of three-dimensional vector space and all within the perimeter of a puntuation mark, the comma.

This edition is literally linked to music as well. If you download the CP Clicker App from your App Store and point the scanner at the edition. You can scan the edition with your phone, which connects to a sound file of the first part of Bulloch’s musical collaboration – The Wired Salutation.

about Angela Bulloch

The work of Angela Bulloch spans many forms, all of which manifest a fascination with systems, patterns and rules, and the creative territory between mathematics and aesthetics.

Since graduating from Goldsmiths College in 1988 as part of the ‘freeze’ generation of Young British Artists, her work has crystallised into a number of distinct but related strands. The ‘pixel boxes’ have become her most familiar component: initially fabricated in beech wood with a plastic front screen, their softly changing and pulsing colours distil and abstract complex visual patterns into simple-shifting monochromes. These works became the signature of a conceptual practice that avoided the shock strategies of many of her contemporaries. More recently, fabricated in copper, aluminium or corian they pay closer homage to their minimalist heritage, while the colours they channel are freed from their earlier origins to become pure abstractions.

Alongside the pixel box sculptures, Bulloch has also returned to the ‘Drawing Machines’ she made early in her career. They operate a simple conceit: a machine draws vertical or horizontal lines on the gallery wall according to some external stimulus – noises made by visitors to the exhibition, or the rhythm of their sitting on and standing from a bench placed facing the work. But this simplicity belies the rich and complex way in which the Drawing Machines bring together modernist concerns of the grid, the monochrome, and the colour field with a playful engagement with interactivity. In a third strand, Bulloch has created electronic simulations of the night sky, which have been exhibited in both large-scale public installations and smaller domestic panels. She selects an area of the sky based upon the primary constellations of the stars it contains and then extrapolates the viewpoint to a location far from the earth, to create a representation of real space, but as her viewers could never see it.



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