Graham Gussin (b. London, UK 1960) is a British contemporary artist whose multidisciplinary practice spans video, photography, installation, sculpture, and digital media. His work is deeply rooted in themes of time, space, perception, and the blurred boundaries between reality and the virtual. His work frequently explores psychological and philosophical concepts, drawing on references from science fiction, technology, and the supernatural. His pieces evoke ambiguity and mystery, encouraging viewers to question their understanding of the world and the systems through which it is mediated.<\/p>\n
Remote Viewer<\/em>, blends visual storytelling with technological and psychological inquiry. The piece explores ideas of distant observation, surveillance, and the tension between the known and the unknown. In September 2001, Gussin embarked on a journey to Askja, a remote region in Iceland’s ‘lunar desert.’ As he traversed this vast, desolate landscape, a remote viewer\u2014an individual trained to perceive distant locations using paranormal abilities\u2014was tasked with tracking his movements and pinpointing his precise location.\u00a0The title refers to the practice of “remote viewing”\u2014a technique associated with both the paranormal and intelligence communities, wherein individuals claim to perceive information beyond normal sensory means. This investigation into unseen knowledge reflects Gussin\u2019s broader interest in how we navigate space and access reality through indirect or mediated experiences.<\/p>\n <\/span><\/strong><\/p>\n Gussin\u2019s work often examines the impact of technology on human perception, with a particular focus on how digital tools reshape our relationship to space, time, and the self. Themes such as surveillance, the invisible, and representation are central to his practice, and are frequently rendered through futuristic imagery and abstract compositions. His installations are immersive and atmospheric, existing in a liminal zone between the physical and the psychological\u2014where landscape meets dreamscape and time becomes fluid. A distinctive feature of Gussin\u2019s art is the fusion of traditional media with cutting-edge digital techniques. He creates environments that are both cinematic and conceptually rigorous, prompting reflection on the multiplicity of perception and the unstable nature of reality. His visual language combines sleek, contemporary aesthetics with a sense of unease or tension, often suggesting the coexistence of multiple dimensions or viewpoints.<\/p>\n Gussin has exhibited widely in both solo and group exhibitions in the UK and internationally. Notable solo shows include The Mary Jane Paintings<\/em> at Handel Street Projects, London (2018); CLEARBLUESKYDEEPDARKWATER<\/em> at CGAC, Santiago de Compostela (2013); FORSAKENFOCUSVERTIGOPREDICTION<\/em> at Marlborough Contemporary, London (2014); Spill<\/em> at Ikon Eastside, Birmingham (2006); and Remote Viewer<\/em> at Ikon Gallery, Birmingham (2002). Earlier in his career, he presented States of Mind<\/em> at the New Museum, New York (2001), and held a major solo exhibition at Lisson Gallery, London (2003). He also participated in Animated Environments (Part 2)<\/em> at Siobhan Davies Studios (2012) and exhibited an earlier version of The Mary Jane Paintings<\/em> in the Azores.<\/p>\n Remote Viewer <\/em>is\u00a0a Film and Video Umbrella Touring Exhibition commissioned in association with Ikon Gallery. Supported by the National Touring Programme of the Arts Council of England and The Henry Moore Foundation.<\/p>\n","protected":false},"excerpt":{"rendered":" Graham Gussin (b. London, UK 1960) is a British contemporary artist whose multidisciplinary practice spans video, photography, installation, sculpture, and digital media. His work is deeply rooted in themes of time, space, perception, and the blurred boundaries between reality and the virtual. His work frequently explores psychological and philosophical concepts, drawing on references from science…<\/p>\nRead More<\/a>","protected":false},"author":1,"featured_media":4670,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-4634","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-projects","col-md-4 col-sm-6"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/keithwhittle.org\/wp-content\/uploads\/slider155\/project_64_im_228.jpeg?fit=672%2C448&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4634","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4634"}],"version-history":[{"count":10,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4634\/revisions"}],"predecessor-version":[{"id":4677,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/4634\/revisions\/4677"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/media\/4670"}],"wp:attachment":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4634"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4634"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4634"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}