Stuck

A right pigs ear
A right pigs ear

Feeling stuck and frustrated. Feel like I am making a right pigs’ ear out of it all so I did. Strangely beautiful. Important to remember benefits of good lighting.

Note: overwhelmed by MA??

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Textile experiments

with electrical components
with electrical components
With component
With component
Card wire felt
Card wire felt
blanket wire
blanket wire

CadifroehlichTrain

Still working close to Joseph Beuys, felt and copper feature, more contrived, visibly restrained wires on ex-blanket and paintings. Got mixed up with the domestic which is a constant risk when using the sewing machine as a woman. Don’t think these are going in right direction – think about how we see 2D works instantly removed from the concept of object and why. They seem static and full-stoppy. I do like drawing with the machine though- just like a fret saw or mechanical jigsaw so there may be something in that.

 

 

P’s correspondence at Selma Feriani

Taking a short story as it’s starting point, in which a character is suspended between worlds as the writer, the artists in this show have produced a coherent exhibition in a variety of mediums.
In questioning the authenticity of recollection and documentation, the works drew me in despite the crowds in the space.
There was a immediacy to the works which were presented unnassumingly in the space, giving the show an air of approachability.
Dave Charlesworth presented ‘wander(walker)’, a video representation of his facsimilie of the family photo archive with a meandering voice over. This became more interesting to me in the context of the show than it might have individually, as the assumed authenticity of the photo collection versus the vague sound track highlighted how I may not have questioned the facts otherwise.
Elena Damiani’s ‘replica’ was photos both framed and unframed. The frame sat alive a shelf and the print lay hanging off the shelf, held in place by a rock which vaguely resembled the rock in the framed photo. The subject was brought into reality but it wasn’t quite right. How much has been lost in the replication, or rather, are we being fooled?
Pedro Magalnaes’ work ‘fake memoirs’ stated it’s authenticity in its title, but the images presented were resolutely every day and ordinary, and it was easy to imagine the photographer snapping as he went about his day. The photographs were various sizes stuck directly to the wall,again making them seem humane and immediate rather than detached and authoritative.
I left feeling not sure if I had seen reality or not, but aware that’s had just seen some actual art. Success.

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Daniel Sturgis

Daniel Sturgis is my favourite kind of painter- his work engages with what it is to paint, what it is to be a painter now, and with the act of painting, applying paint to surface and the time involved in the painting.
His paintings present seemingly simple graphic motifs which are actually drawn and painted by hand using inperceptible strokes. They look like masked blocks, but up close they present flat even surfaces with the human touch still in evidence.
Sturgis is interested in the messages you get from the work- you see order with wonkiness, flawed geometries with acceptance of loos anomalies in them.

The objectness and illusion of the painting. Susan Sontag ‘Notes on Camp’ discussed the duality of meaning in artworks, suggesting that accentuating the one can enlighten the other.

Mindful of where today’s painters sit, in the post-modernist world, inheritors of the history of painting, citing Pissan’s Life of the Artist, in which the philosopher declared Da Vinci as the God among artists, Sturgis asks, “how can we follow that?”
The only answer can be to play, to rebel, to mess about with the practice- if Da Vinci Devine pinnacle, and the avant guarde and the modernists elaborated and then dismantled the medium, then Sturgis feels free to question the medium, the surface and motivation.

Sturgis has curated and contributed to relevant exhibitions and residencies, and he talked at length about two: Perdify at Santa Maria de la Tourette, and Barracks at Berwick-upon-Tweed. These shows were in complete harmony with Sturgis’ response to the locations- that of obsolete modernism in the first, and embellished avant guard in the last.

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Future Map

Slight deviation from the Daily/Weekly continuum due in no small part to attending Future Map at Zabludowicz Collection last night. I quote from the website:

“London’s ..annual exhibition of graduating artists and designers from University of the Arts London …, Future Map … showcases the next generation of artists and designers who will define our visual landscape. Future Map can be an important first career break for a young artist or designer, providing an introduction to top UK and international gallerists, curators, collectors and critics.

Future Map 11 exhibitors are selected from nearly 10,000 of the University’s graduating students from across all six colleges by a panel of leading industry experts.”

Wei Wang

The prize went to Wei Wang from LCF for these very quality clutch bags, the decorative accessory taken to new levels of fragility and out-ranking the delicacy of what might be carried inside by the fine porcelain construction.

personally I was rooting for either these:

Chieh Ting Huang- Urban Camper

Saw them at Camberwell MA Designer Maker and love love love the tension I feel when I look at them as ‘safe’ ‘flames’ encased in flammable paper and wood. Seems like making camping safer or inside should make it less exiting, but these lamps are so delicate and well crafted that they are barely there. I know it’s only a lightbulb, not a campfire, but these lamps succeed in drawing me to them and warming me.

My other pick is Karin Soderquist’s To the North Pole:

karin soderquist to the north pole 1
Karin Soderquist To the North Pole 2
Karin Soderquist To the North Pole 3

These Illustrations, arranged one in front of the other heartbreakingly introduced us to the characters and their adventures before swiftly despatching them to the benefit of nature… a wild and chilly tale which I re-read and re-read.

Daily/Weekly exchange exhibition

Using the text The Practice of Everyday Life by Michel de Certeau as a starting point, we have been working on an exchange exhibition with Griffith College of Art at Brisbane Uni in Australia.

As a group we set ourselves a constraint of working within a post-card sized format- acknowledging the act of the sending of our work individually across the world- and sending something off daily for a designated week.

This is quite a solitary approach to orchestrating a show, and risks producing a fairly uniform, restrained result. However, working with the theme in mind, I am optimistic that the daily/weekly concerns we have as individuals and as a group, will produce a body of work which represents a cross-section of our practices.

I will be posting a selection of the work sent by the group daily. The first day of posting is the 9th Jan 2012.

There has been much discussion about the mediums being used both in production and in display, and there are some interesting proposals for work to be interpreted and presented according to the curatorial decisions of the other group, and according to requests and instructions sent from this end.

As the first group show we are producing on this MA (Fine Art at Camberwell), this project feels more united physically than conceptually than I had imagined, but the experience of working with a group of artists from such a diverse range of practices and approaches has been good for me, as I accept and respect different ways of working.

Helping to coordinate the delivery of the work has also taught me about motivating a group and setting my own boundaries of responsibilities.

My own work consists of a copper representation of a postcard, which has been polished. I will handle it all week, scanning an image of it each day to document the marks left on it. I print out the scanned images onto card and mail them each day, culminating in the really marked and darkened piece of copper itself getting sent on the last day.

Everyone who handles the card contributes to the passage of the work, and records the passing of time, whether man or machine. The copper itself, now having some market value, may itself vanish before arriving in Brisbane, if someone values the object itself more than the message it is sending.

Cape farewell ShortcourseUK

Building on the previous expeditions and operations of Cape Farewell, a more localised initiative has been set up to engage with scientific and artistic practitioners from around the UK. The first was based from Falmouth and looked at the coastal and specific climatic areas around the coast of Cornwall and the Scilly Isles, and the second was centred on the waterways of central London.
The different boats we took and our destinations were fascinating, but what has really stayed with me from the trip is the time that we all had together as we travelled, during which we were able to talk and share ideas about our work and about what we were seeing. It was a very full schedule, as is everyday life for a lot of people, but being contained in one space together meant that we had the luxury of time to chat, talk and really discuss what we saw.
In addition, and exactly in keeping with the philosophy of the project, I found that the diversity of backgrounds from which we all came meant that through asking questions and hearing others talking, I was able to get a much clearer understanding of much of what we saw. I once had an art tutor who told us that we should always eavesdrop on conversations and tutorials in the studio, as some often best tutorials he had ever had were those given to other people.
The practical opportunities to sit down with a marine biologist or an environmental forensic scientist and ask them questions until I understood what they meant has resulted in a feeling of being very deeply rooted in understanding of some of the issues I have been looking at in my work. For some time I have been looking at reusing materials, implying vague concerns about reducing waste and recycling function or moments of use. I was under the assumption that issues around environmental concerns were so ubiquitous and widely understood that I had no authority to further expound on the ideas.
This says a lot to me about my own work and thinking than about the reality, however, I learnt a new term which summed up the problem for me:
Greenwash.
The notion that climate change and the environment is so frequently discussed these days and has therefore lost any sense of scale or opportunity for personal action.
As Daro Montag declared, “we do not have a problem with climate change, we have a predicament. Problems have solutions, predicaments have outcomes.” We all need to be adjusting to accommodate these developing outcomes, at the same time as taking responsibility for our actions which are contributing to the predicament.
Having experienced the Thames Flood Barrier and spoken with a member of staff regarding it’s limited lifespan, having heard from marine biologists who work with plastics, and having been shown a lost the lost city river of Fleet by a geographer, I feel empowered to comment on these issues, to try to respond to what I saw and heard, to help introduce the issues to people so that they can start to be aware of the part they play too.

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