Nana Wolke by Inna Svyatsky / installshots.art Nana Wolke explores the nature of perception, focusing her attention on modes of apprehension of space and time. Her series of works usually begins on film-like sets, where the artist records the unfolding of staged situations and improvised actions occurring in spaces spanning across social hierarchy. Wolke proceeds to assemble and edit both original and found footage to create distinctly monochromatic visual atmospheres and rhythms that she then translates into painting and sound installations. Using commonplace lighting to model space and generate the grain, textures and slippages of her images and sequences, Wolke utilizes a variety of devices chosen as much for their technical properties as for their social significance – e.g. CCTV equipment, home video camcorders, inventory cameras, intercom systems, etc. Considering the multiple viewpoints from which an action can be witnessed, Wolke’s work conjures a tension between observation and control, often inviting viewers to navigate environments that interrogate notions of access and inclusion – whether for economic, social, or security purposes. In so doing, Wolke reflects upon the conflation of desire and shame in contemporary modes of production and consumption of images and visual culture. By constantly confronting the logic of live actions, cinema, and paint, Wolke ultimately seeks to analyze the progressive inextricability between actual and artificial realities. Wolke holds an MFA from Goldsmiths, University of London. Solo exhibitions include Breed at Management, New York; Wanda’s at NiCOLETTi, London; High Seat at Castor Gallery, London;  Nana Wolke Nana Wolke Nana Wolke,