I am starting to like how it’s looking. See below for documentary evidence of latest install, as insurance against any of it walking. As seems to be happening around these parts. Naughty.
Watch this space.
As presented in the recent symposium, my practice over the last 2 years and ambitions for the future look like this:
-in at the deep end.
-ridiculous, lamentable atropy
-series of happy accidents which come about whilst I am playing around with general stuff
-select stuff on basis of availability, practicality (will it fit in studio?! like Silke Detmers said about logs and cars), hate waste, this could be endless, so limiting it to one or 2 materials has helped practically as well as conceptually.
-ideas of physicality of communication
-exchange exhibition, distance, lack of presence
-technology to organise, post to execute
-value of copper, stolen, marks of handling by people and machines
-to be included in Chelsea Library collection
-set up ongoing modal of working within a group, not necessarily collaborating but supporting and exchanging
-excited that is integrated into creative thinking and practice here.
-scientists and artists together addressing issues
-mark fisher talk on capitalist consumerism
Berlin, show and publication in autumn
-selected for Cape Farewell London expedition.
-waterways, canals, tidal barrier and submerged rivers.
-role of river in transport, sanitation, commerce and sustenance
-effects of man, volumes of humanity.
-overwhelmed by scale experienced on expedition, brought it back to one person
-specific amount of water contained.
-hidden infrastructure exposed
Feb 2012, Triangle space
One Human 40l
-commodification of drinking water, follows on from commodity value of copper
-Grey area, leftovers and basic provisions
-re-use water, use cables found in cupboard
-reflection of wires and pipes visible
-tidying brought up issues of value of artifact as well as materials
-pipes bent to allow them to contain water freestanding
-futility, humour, integrity
Had no tools at Joya residency in Spain.
-rain happy accident, as was colour of foliage
landscape specific, water only became important when there having no showers. started out liking form,
-really thinking about how and where work installed and shown
U6 Residency at WYE Berlin. Reading Jean Fisher metaphysics of shit following from Dokumenta,
-environmental art by Song Dong Doing Nothing Garden
-no tools. drawings/ wires were there/everywhere
-Sharing a working space, normally separate
drawings and representations of things which aren’t really things
first thinking about multiples
-perceived obstacle, anthropomorphic,
-detracts from individual status as artifact good/bad?
-influence by Graham Hudsons Works in Progress
-jaws journal. tactile encounter with the material
-salvage value vs commercial value, labour and machining
-continuing to think about setting for my work
-reduced to object of conductivity
-oblique reference, abstract of object
-cast better, more detail highlights flaws.
-too crafted? less touch better?
trying to cover up
-slower piece. colour, form, physicality
-step away from didactic making. trusting roots of thinking
-raw, exposing thinking
-eva rothschild, mike nelson
-chance to make something big, turned into lots of normal sized things
-investigation into space, materials and textures
‘The input received and the relationships forged over the last 2 years will sustain me for the foreseeable future. I am looking forward to taking time now to really sit with my work and get to know it again. I have not made enough time to just be with my work this year, so the space left by no longer attending college weekly will be happily filled with that.
I know I will have a long and productive career as an artist, and if I can support myself through that with a combination of selling my work and teaching I will be extremely happy.’
Breathe/ no breathe
I don’t think I have ever had this many pieces of my own work in one space before. It is larger than my studio, but crammed with works all clammering for my attention. It feels like a cross between chairing a rowdy meeting, and supervising a birthday party. Everyone is valid and valued and interesting, but some just don’t get on. Some form gangs against each other, and some just cannot resist having the last word.
I used to feel flustered and underprepared in both of the above scenarios when they went badly, but that moment where you make a great business proposal, or suggest a really great game, the crowd is on your side.
This is called curating.
When there are too many things it is confusing. They all talk at once, no one gets heard. Too few, and they risk becoming a bit lonely. Everyone likes someone to chat to, but who is secretly in who’s gang. The only way to find out is to clear them all out, and introduce them one by one. Sometimes one sits somewhere that really suits it, so they stay there, and others have to fit around them. Sometimes it goes really well until a row breaks out and you have to clear the space again.
It is a surprisingly physical experience- it makes you feel bad, squashed, confused and choked when it’s wrong. When it’s right it’s like you can breathe again, it’s exciting, and you feel great. Who knew curating was so visceral?
I have always proposed that the curator is a maker too- they can make shows out of the artwork the artists make. It is a skill.
A couple of minor observations:
Gasp. I’m choking..
Ahh.. that’s better.
The photo’s say Oi! Look over here!! The rest says meh.
It’s a riot!! clear the area…
One day this ongoing collection may morph into something useable, but until then I just keep taking the pics. There are wires everywhere, cavalierly laid, strewn and dangling. Considering the value of all that passes through them- lives, loves, work and fun, I am fascinated by how many are just there. Draped around, open to the world.
In other parts of the world they wouldn’t last a day like this. Indeed, theft is up here too, so how long before these are ‘relocated’. What calamaties might befall folks whilst service is interrupted?
They say a lot to me, these wires.
2013 MA Fine Art, Camberwell College of Art
2011 FdA Fine Art with distinction, University of Brighton
2010 Art Foundation with distinction, City College Brighton and Hove
1999 Certificate of Web Design, San Jose State University, California
1995 BA(hons) European Studies (French and Spanish), City University of Birmingham
2013 Saatchi Gallery New Sensations (longlisted)
2013 Creekside Open 2013, London
2013 Ides of March, Space Station 65, London (March 2013)
2012 Meanwhile, John Hansard Gallery, Southampton
2012 Bend Over Shirley, Beaconsfield Arts, London
2012 A Machine for Living In, Hannah Barry, London
2012 Under the Influence, Kensington, London (co-curator and exhibitor)
2012 (o)ccupant #7 Grey Area Gallery, Brighton (solo)
2012 Without Boats Dreams Dry Up, in collaboration with Cape Farewell, Triangle Space, London
2011 Peckham Open, London
2011 Daily – weekly, Brisbane, Australia
2011 Minor Revisions, Tenderpixel, London
2010 Jerwood Drawing Prize, London and various
2010 Light Thickens, Vyner St Gallery, London
2009 The Pepperpot, Brighton
2008 Achievers Awards Ceremony, City College Brighton and Hove
2006 – present Studio Assistant, Sam Toft, Brighton
2000 Web Producer, Victoria Real, Brighton
1998 Without Borders, San Jose, California
Awards and Commissions
2011 One Tree, site-specific outside installation with Joanna Brown, White Night Brighton and Hove
2010 Jerwood Drawing Prize, 2nd prize winner
2012 Expedition, p122, CCW London
2013 JAWS UAL first edition
2012 U6, WYE, Berlin
2012 (o)ccupant #7 (solo) Grey Area Gallery, Brighton
2012 Group residency at Joya arte:+ecologica, Spain
2011 FdA Brighton, Dungeness
My work explores the materiality of how we communicate today. It suggests the impermanence of the elements we machine at ever greater speed. I propose a juxtaposition between developments in the virtual, instant access we have to each other, and the pausing of time proposed by engaging with an artwork.
My concern with the physicality of communication between people, materials and objects has particular focus on the hidden infrastructure, events and implications of how we interact.
I manipulates salvaged copper in temporal interventions.
Unusally I have spent a good chunk of time getting the macro shots of my wires right to produce to photographic work. This follows on from the Boxpark show we produced, where our images were blown up to posterboard size. I liked the confrontational experience, and that people struggled to see what they were looking at at first.
These images are A1 size, so not as big as the posterboards. They are aluminium mounted which maintains my metallic theme, and are really striking. The clarity and composition hopefully overcomes the problems with earlier versions.
Previously it was noted that they were more like portraits which wanted the viewer to see the real thing. Hopefully here I have given them status to be seen in their own right.
I even liked the test prints, so mounted them on offcut strips of aluminium.
Despite having these 2 choices of size, it seems unlikely that they will make it into the show at this point, but I still like them enough to show them again in the future.
lots of conversations w tutors about how to present work in the show space. I am now at the moving things about/ taking them out and putting them back in stage.
I am thinking about what I want this work to say. There seem to be a few groups of thinking within the work- some more figurative, some more formal, and I am thinking about which way to present at this stage. I have a couple of pieces which I really like now, and want to include. They are shown below.
The ‘See’ of white wires makes me smile, I want it to stay.
The hanging echo of the cables is fun too, and I hope that stays too. It makes me think of the ‘fuck you’ attitude we are encouraged to bring to the show- the sense that we are making the show for our work and ourselves, not tryint to present something which other people will like per se.
The wall piece seems to have tied the vertical spaces together, and the insersion of the A4 copper piece helps me to remember where I am coming from on this. I am looking forward to getting the phone blanks on the wall to see how the shiny surfaces talk to each other.
This fatter roll was made impromptu, and does not feel resolved enough to be included. It is a similar diameter to the recycled felt on the floor, the the relationship seems to explicit.
I call the white wires See, as a grammatical pun really. They flow, and seem a bit sneaky, yet are laid bare, which I like.
This work containing the white wires never fails to get a reaction, so am working with it. Addition of coloured tape was an error. Ongoing.
These in themselves are working together, but the presence of the hanging piece changes how they sit on the floor, making it seem too crowded.
The green/purple/felt tank piece from the Morgue show just doesnt seem right here.
I have made A1 prints of these macro shots and mounted them on aluminium. They are just not fitting with the space at the moment.
An Art network About Sculpture in Today's Modern World
Objects can tell stories
The latest news from the Gallery Blog
Collect Art and Design from University of the Arts London
Experimental Art Project Space in New Cross Gate
a not-for-profit initiative presented by The Cynthia Corbett Gallery
An Artist Residency in Loch Lomond & the Trossachs National Park
GONZO ART CRITICISM FOR THE 99%
Somebody, nobody, everybody, all the time
Keivan Sarrafan MA Fine Art 2011-2013 (* indicates new or updated entries)
Art and humanness.
A beautiful WordPress.com theme