After travelling across London, the United Kingdom and waiting around for some time outside the entrance of the Crypt Gallery to proceed, the entry that lays beneath Saint Pancras Parish Church. The gathering of exhibition lovers begins to accumulate at a steady pace and once inside, various paintings hang on display for today’s malicious event. Most notably, Ester Segarra’s Shards photographic portrait draws highly to the attention of the event’s early arrivals.
As the free absinthe glasses fill up, the exhibition followers steadily began hand choosing various visitors to enter into the green lit archway, which leads further into the crypt beneath Saint Pancras Parish Church.
Once inside, the long stretched out hallway dwells entirely dark, with virtually no visibility or room for movement. Towards the front, British Shards unveil an impressive set of music to start the event. Shards, an act that was formed by Adorior frontwoman Melissa Gray, more entwined toward the verge of acoustic music that often reminds of the country mates 3rd And The Mortal, Ava Inferi, and Dead Can Dance at a lesser folkish orientation contrasting her vocal presence as a defiance toward the fearsome blackened death metal band Adorior, which is also based in London.
Photograph
The female fronted gothic act displays an aural balance between melody and density as the guitars and vocals inhabit highly present in their sound. Behind the group, a projector screen showcases visuals of waterfalls and other natural landscapes, rendering a far more sensory experience. The atmospheric blend of tribal drums and thought provoking lyrics sweep across the crowd who fixate upon the trio standing before them.
As they withdraw, the assistants guide the crowd into the Crypt Gallery’s central area. Upon arrival, Ester Segarra’s photographic portraits of Varg Vikernes (Burzum), Pelle Åhman (In Solitude) and Erik Danielson (Watain) hang upon the stone walls in a complementary manner.
Portrait
Ester Segarra’s artistic visions showcase a sense of genuine professionalism within the world of photography with each portrait becoming a focal point of contemplation to the congregating attendees, who begin conversing over the portraits of their musical idols. What was more, these portraits do more than serve the representation of these musicians, there is a level of depth behind their eyes that Ester Segarra captures flawlessly.
After crossing several gravestones that lay aided up fronting the walls, Zbigniew Bielak’s artwork stretches out through across another proceeding hallway. In this area, the hauntingly bleak photograph of Watain’s ‘Lawless Darkness’ becomes spontaneously recognisable.
Poster
Ghost’s Depth of Satan’s Eyes proves to be a favourable portrait from the crowd. The detailed level of features represents a multi-dimensional piece of art in which you can continually find something unusual with subsequent viewings.
Zbigniew Bielak holds a level of creativity that keeps you gazing at his work for a goodly amount of time; deciphering the visual narratives within every piece. His work reveals a particular level of craftsmanship, and there is something both alien and familiar about his artistic endeavours that are worth taking the time to appreciate.
As the smell of incense resonates throughout the Crypt Gallery, and with musicians strumming acoustic guitars around the underground passageways, the atmospheric approach to the exhibition are all part of what makes it so appealing.
From the organisation of the venue workers to the seamless array of art and music, Shards Dissolve is the perfect Winter exhibition for those who hunger for something cold, dark and nothing short of beautiful. A truly unforgettable exhibition.
