"…Something like a lightning-bolt without beginning or end described a white-hot current of electricity through his veins and nerve-stems. When the pain overwhelmed the controls over his bodily functions, he heard himself laugh. It sounded like relief: no more thought that was the score. Adapting to the movements of the a-sensible. Eluding them. Anticipating them. Engaging them. Suspending oneself and not adapting. Adapting by not adapting." Müller, 'Heracles 2 Oder Die Hydra', in Werke 2: Die Prosa (Berlin: Suhrkramp, 1999). Translation D. Redmond

White Cube Bermondsey is presenting 'No realm of thought... No field of vision', an exhibition of new work by Cerith Wyn Evans. Installed throughout all of the gallery's spaces, it features installation, sculpture and painting that foreground the artist's longstanding exploration of transcendence, translation and temporality.

In 9 x 9 x 9, fig. (0) (2020), a major new neon sculpture takes its form from drawings of the first helicopter designed in 1907 by Paul Cornu. Insectile drone, part cyclical and satellite in nature, the work is suspended from the ceiling in the manner of an aeronautical museum display. By referencing 'fundament through firmament', it points both to the diagrammatic foundations of early self-propelled flight and Evans' own first neon sculptural commission entitled Arr/Dep (imaginary landscape for the birds) (2006), a visualisation of intersecting global flight paths installed at Lufthansa's headquarters in Frankfurt airport.

Adjacent, the new series of neon sculptures; …take Apprentice in Sun I-IV (2020) that present a staggered and multiple light drawing in four distinct parts. A graphic tangle of multiple trajectories trace the lines and shadows in a photograph the artist took of Duchamp's 'assisted readymade', Bicycle Wheel (1913) at the Museum of Modern Art, New York.

Relating to Evans' earlier series of neon sculptures that drew from the codified movements of Japanese Noh theatre, in these new works, multiple partial and fragmented shadows of the bicycle wheel and the stool upon which it sits, can be discerned among many other vectors, all of which appear to intersect or exist on numerous dimensional planes. Mechanical and architectural in feel, they remain in constant flux, liable to change and mutate in and around their traceries.

Relating to Evans' earlier series of neon sculptures that drew from the codified movements of Japanese Noh theatre, in these new works, multiple partial and fragmented shadows of the bicycle wheel and the stool upon which it sits, can be discerned among many other vectors, all of which appear to intersect or exist on numerous dimensional planes. Mechanical and architectural in feel, they remain in constant flux, liable to change and mutate in and around their traceries.

Here are the three White Cube galleries:

White Cube Bermondsey

144 - 152 Bermondsey Street

London SE1 3TQ

White Cube Mason's Yard

25 - 26 Mason's Yard

London SW1Y 6BU

White Cube Hong Kong

50 Connaught Road Central

Hong Kong

Currently by appointment only.