For the Distances Collapsed considers the gap between Modernism and modernisation; the former being an ideology concerned with form and the latter being related to the concept of industry and economy of society. Through clarity, pattern and repetition, Modernism simplifies and codifies the world around us, and the history behind us. It is an aesthetic that lends itself to the digital and the synthetic; by its nature, it is rigid and static. It is therefore inevitably and repeatedly left behind by the onward march of modernisation, its sheen fading no sooner than it is formed.

Jack Brindley (b.1987, London, UK) studied BA in Fine Art at The University of Reading and MA Painting at the Royal College of Art, London in 2013. Solo exhibitions include; STONES, Art Lacuna, London (2018) Sweat, Pippy Houldsworth Gallery, London, (2014) Clay Arlington – Aspirations to be Reborn in a Western Paradise, Lychee One, London, UK 2015: Clay Arlington – Understudy, Union Gallery, London, (2015) and Blueprint, CSA Space, Vancouver, Canada, (2013). Group shows include; Some People are Worth Melting For, Ginny Projects, Wales, (2018) If a Tree Fell… It’s Kind of Hard to Explain, is this it, London, UK (2018) With Institutions Like These, The Averard Hotel, London, (2018) Tan Lines, Drawing Room, London, (2014), Mud and Water, Rokeby Gallery, London, (2014), Slow is Smooth is Fast, Boetzelaer Nispen, Amsterdam, Netherlands (2013), Intercourse 3, ICA, London (2013) and Congratulations you are the most recent visitor, Kettles Yard, Cambridge, (2013). In 2013 he was commissioned by Situations to produce a large public commission.