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.

20120120-144434.jpg

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.

20120120-143753.jpg

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.