What appears at first as pure scribble reveals itself, under sustained attention, as a rigorous investigation into centrifugal force and overlapping temporalities. Pemberton's looping, elliptical forms - stacked and interpenetrating across the picture plane - lean on the automatic drawing practices of the Surrealists, particularly Masson's sand paintings, where the hand is released from conscious intent and the trace becomes its own subject. The isolated arc at the right edge functions as a kind of remainder, a residual frequency outside the main event, refusing easy absorption into the whole.
What appears at first as pure scribble reveals itself, under sustained attention, as a rigorous investigation into centrifugal force and overlapping temporalities. Pemberton's looping, elliptical forms - stacked and interpenetrating across the picture plane - lean on the automatic drawing practices of the Surrealists, particularly Masson's sand paintings, where the hand is released from conscious intent and the trace becomes its own subject. The isolated arc at the right edge functions as a kind of remainder, a residual frequency outside the main event, refusing easy absorption into the whole.
- Curatorial note, wifärt gallery