Christmas Wishes.....

Apologies for a severe lack of posting for the past few weeks..I have been on the sick list for the past 10days - a bad health record my body had not seen in years! Fingers crossed I am back on the mend now for good.. especially now as I am now officially on Christmas holidays..yeaaayy! We have reached our Christmas location in Cheshire, and are heading to Scotland after for Hogmanay.

We did, however manage to put up our Christmas Tree with decorations I made back in early November, at least I was organised with these! Made from my fave air drying clay, I painted these or used decoupage and strung with ribbon or binding.

It has been a busy and productive year, highlights have definitely included completing the Communitas Digitas installation at Nunhead Open, Fab Lab Challenge as part of the FutureEverything Conference and engaging with drawing to produce a new body of work.

On a personal level, special memories have been a birthday holiday to Prague, a holiday to the Black Isle and Summer Isles before and after my sisters wedding, which brought back some happy childhood memories and created new ones.

January 2011 already looks set to be a busy one.  I am giving a talk on the 8th January at the Artists Practice Day at Camden Arts Centre about my own practice, which I am looking forward to, and a little nervous too.  The Artists Practice Day, is a by invitation only crit event for emerging artists.  I have attended before, but only as a dicussion participant, so it is my first time holding the floor.  I also am exhibiting a drawing in the Members Show at Embassy, and completing drawings to be sent to NY for the Sketchbook Tour which begins in early 2011.  I will also be getting on with ongoing projects, applying for funding for the China Residency.....

Wishing you the very for the festive period....and relax...

Navigation Map...

Production has been a little slow over the last couple of weeks due to a horrible extended lurgy, but I have managed to complete a larger drawing, 'Navigation Map', which I have uploaded onto the front page of my website.  The drawing is derived from city centre street patterns and facades of sites that I regularly travel to. I have also been working on sketches for a series of colograph prints and a proposal for the Kaunas Textile Biennale 2011.  Fingers crossed!

'Navigation Map', 2010. Pen and pencil on paper. 45cm x 70cm

Re-wire - Liverpool, 2011, Call for Papers

You may be interested in submitting a paper for the Re-Wire 2011 Conference - Media Art History, which will be held at FACT, Liverpool from the 28th September until the 1st October 2011.

Please read below for further details......


Media Art History 2011 - Rewire

Fourth International Conference on the Histories of Media Art, Science and Technology
Liverpool, 28th September - 1st October 2011

Call For Papers now open - Deadline Monday, January 31st 2011
Host: FACT (Foundation for Art and Creative Technology), Liverpool

In collaboration with academic partners: Liverpool John Moores University, CRUMB at the University of Sunderland, the Universities of the West of Scotland and Lancaster, and the Database of Virtual Art at the Dept. for Image Science.

Following the success of Media Art History 05 Re:fresh in Banff, Media Art History 07 Re:place in Berlin and Media Art History 09 Re:live in Melbourne, Media Art History 11 Rewire will host three days of keynotes, panels and poster sessions.

Media Art History 2011 - Rewire will increase the voltage and ignite key debates within the internationally distributed network of histories, which takes account of the questions surrounding documentation and methodologies, materiality, and agency. Rewire aims to up the current to illuminate the British contribution to media art, and by looking at our industrial heritage and contribution to the history of computing technologies themselves, we will open the discussion to how these contributions are manifested internationally. Considering the International scope of the histories of media art, science and technology, Rewire is also listed as part of the "McLuhan in Europe" programme, and will take place concurrently with The Asia Triennial in Manchester and Abandon Normal Devices, the North West's festival of new cinema and digital culture which returns to Liverpool in September 2011.The reviewers especially welcome proposals for presentations that
resonate thematically with these events.

We are looking for original research on:

* The relations between art, science, technology and industry, both historically and now

* New paradigms and alternative discourses for media art and media art history, such as, for example, craft, design, social media, or cybernetics

* Local histories and practices of media art, including (but not limited to) Britain

* Colonial experiences and non-Western histories of media art, science and technology

* Media art history in relation to the biological, biomedical and ecological sciences

* Relations between the histories of media art and those of computing and new technologies

* Writing art history in a technologised and scientific culture, including the documentation of media art and how it is changed in a technologised and scientific culture

* How the field of science and technology studies (STS) can offer useful models for new paradigms for art history

General papers will be accepted. The conference will be delivered in a range of formats, from panel discussions to Pecha Kucha sessions and video poster presentations, as well as a small number of invited speakers. The programme will include competitively selected, peer-reviewed individual papers, panel presentations, and poster sessions, as well as a small number of invited speakers. Keynote Lectures, by internationally renowned, outstanding theoreticians and artists, will deliberate on the central themes of the conference and will include the Roy Stringer Memorial Lecture, held annually by FACT in memory of Roy Stringer, an early pioneer of digital media, champion of multimedia industries in the North West and Liverpool, and former Chair of the Board at FACT. The conference will also include dedicated forum sessions for participants to engage in more open-ended discussion and debate on relevant issues and questions.

Please submit abstracts of no more than 250 words and a short cv by Monday 31 January 2011, either in Text, RTF, Word or PDF formats, and clearly identify three keywords for your paper via the Call for Papers.

I-Mac - Kerry Hughes

I have been keeping my eyes on the website of recently graduated Kerry Hughes, who studied the Graphic Communication BA at UCA, Farnham (2009).  She now works as a freelance designer - working in prop and set design, toy making and accessory design, as well as being part of the design duo Forager.

I particularly like her I-Mac, and other three dimensional felted and stitched objects...

'It must be..'

I have been very poorly for the past week with a cold/flu lurgy, but starting to feel back on the mend properly today...thank goodness! Thus development of my website has not happened so fast. Today I uploaded some images from my Sketchbook project where I am documenting daily sites that I visit over a period of a month.  More images to follow... please have a look here.

Everything Must Go! at Forest, Edinburgh

The Forest Cafe and Exibition Space, Bristo Place in Edinburgh is struggling to support its exhibition and event programme that has offered very interesting showcases and opportunities for emerging artists for over ten years.  When I was living in Edinburgh, and as a student on holiday from Dundee, I always enjoyed visiting the exhibition space and having a coffee or sandwich in the relaxed cafe populated by artistic types and students.

Amongst many activities to raise funds to continue to keep the space open, Forest art holding an Art Auction on the 11th-12th December 2010.  I have donated an etching 'Message Screen', from 2006, to the sale, so if you are in the area pop in to see what else they have in store! Wishing them all the best of luck with their endeavours.

'Message Screen', 2006, Etching on Fabriano, 22cm x 12cm

The last time I was in Edinburgh, I also visited the fantastic workshop, Edinburgh Printmakers, and caught their current exhibition 'Myths and Legends: From Ancient to the Modern'.  A more curated approach to their annual members show which I had taken part in in the past; it features prints focusing on more personal approaches to the historical and mythical narratives from a range of geographical locations.

Another recent addition to Printmaking resources in Edinburgh, is the opening of a Printmaking studio at Amber Arts.  The workshop is available to hire, and also offers bespoke classes in Relief, Monoprinting, Etching and Screenprinting.  It is great to see many artists I knew from my time working at the Printmakers Workshop still thriving!

Social Media Revolution 2 (Refresh)

Social Media Revolution 2 is a remake of an original video that highlights sometimes frightening facts about our constant inhabitation of social media sites.  Information from the video is taken from both the blog Socialnomics, and book Socialnomics by Erik Qualman, also worth checking out.

Woo hoo...website updated at last!

I am glad to say that my website - http://www.jennysteele.co.uk/ has been re-laid out and updated, with still yet more new work to come...! Please check it out and keep your eyes on it for fresh instalments in the coming week!

Creative Agitation at the MadLab

Another great digital resource that the North West boasts is The Manchester Digital Laboratory which is a non-profit community venue for creative's and hackers to meet and explore the potential of digital technology.  The space, which is funded and run by Big Lottery Funding, a collection of commercial sponsors and volunteers; offers a programme of events, space and resources relating to all things creative and technological

The venue currently offers a range of events, workshops and meetings, with facilities also available for hire, with wi-fi and projector system.  Manchester MadLab is located in a former shop in 36-40 Edge St, Manchester, M4 1HN, with group events usually happening at weekends.   

all over...Toby Paterson..and Lucy McKenzie

Toby Paterson - Ausstellungsansicht, 2009

Toby Paterson, Hypothetical Relief (Sofia), 2009
Acrylic paint on perspex, 30cm x 30cm

A few weeks ago on a visit to Edinburgh, I took the opportunity to visit the Fruitmarket Gallery where I used to work. Sadly, it was in between exhibitions ('Childish Things' has now started), but my partner and I delighted in visiting the fantastic bookshop.  The excellent selection of visual art books and back catalogues reminded me of the practices of two Scottish artists who began to achieve acclaim for their work whilst I was still studying at undergraduate level in Dundee.  As my practice has developed over time, it is interesting to see how, in particular my interests, and theirs have altered over a nine year period.

Paterson's reliefs, drawings and sculptures reference constructivist and modernist geometric artworks and architecture. Specifically his abstract pastel photo montage style reliefs and wall drawings, hold great resonance and links to my own current drawings I am working on that explore physical and digital architecture.

Mixed Media installation, Exhibition at Modern Institute, 2009

The practice of Lucy McKenzie, who is also a graduate of DOJCAD, also explores past architectural styles, sometimes juxtaposing them with abstracted images of popular culture within painting and installation 

Lucy McKenzie, Salon Library for the Great Exhibition, 1902, 2006 

Lucy McKenzie, Untitled, 2004

Geometrics at the Tate

Going to the Tate Modern, for me, is now like visiting an old friend, or watching your favourite movie over and over again.  You know what you are going to receive from the free exhibitions when you visit yet again with another group of students, or another group of friends or family, but every time you go to the Tate or watch your favourite movie you notice another feature, line or artwork, that makes you consider what you are currently doing, in a new light.

Last week, on another visit to the Southbank, I was particularly struck by the geometric forms in the Chromatic Structures section upon Level 3, that features work from artists such as Victor Pasmore, Helio Oiticia, Charles Biederman and Mary Martin that explore geometric form and colour to produce autonomous abstract art.  I was particularly taken by the reliefs of Victor Pasmore, and Charles Biederman.  Although informed by pure organic forms and geometry, these works reflect the geometric forms and bright colours of interfaces I have been referencing in my recent drawings, and various relief structures recreate smaller layers of larger reliefs I have been building in installations.

Victor Pasmore, Abstract in White, Black, Indian and Lilac, 1957

CHArt Conference highlights - 'Technology and the 'Death of Art History'

Last week I attended the annual CHArt conference for the first time, which was held at the British Computer Society in Southampton Street.  CHArt, Computers and the History of Art research group, celebrates this year 25 years of functioning as a friendly and inclusive group that holds an annual conference and publishes a corresponding journal on of research papers on a wide range of discourses relating to the the relationship between the computer and the history of art.

The content of the papers, and the backgrounds of the speakers was indeed very wide ranging, and this was supported by a supportive approach by the CHArt committee and chairpersons.  The papers were 'curated' into four sessions - Technology, Curation, Access and Dissemination, opened by a keynote speech by Will Vaughan, Professor Emeritus at Birkbeck, London.  Professor Vaughan was one of the founding members of the research group, and in his opening paper entitled 'Looking Backwards, Looking Forwards' he described how the original group was a workshop run on a local basis in the 1980's. Interesting original ephemera such as typewritten newsletters and survey documents to decide the name of the group (such as HATE and HALITOSIS...) were the background to an overview set out by Vaughan as a grassroots organization that  mapped the relationship between the computer and the impact on the arts.

From a person of my generation, his first hand description of the perception of the computer, and the digital in the early 1980's was very interesting to additionally consider how computer software is now branded, designed and marketed as welcoming and friendly.  He explained how computing was associated with 'men in white coats', employed predominantly for data management, but when it came to art historians there was considerable mistrust in putting responsibility in this intangible system.  Vaughan enjoyed exploring the possibilities of this medium getting to grips with the BBC basic software, where he wrote a programme that could generate faux Mondrian artworks creating a game whereby the user had to guess a computer generated Mondrian from an original by the master.  The undertone of this game, which tests connoisseurship, is a strong thread running through visual art history - to be able to distinguish what is valued art, and what is not.

Somewhere in the 1990's, Vaughan describes a 'watershed' - with the acceleration of digital production and mediated communication - we are suddenly living within a whole new set of immaterial circumstances.  After the invention of the daguerreotype, painting became much more self consciously about the paint - evidenced in the 'pure' painting of Mark Rothko.  Discussing the digital and Internet as a time- based medium, Vaughan seem concerned with the lack of 'stillness' in digitally generated artwork, suggesting that  a sense of 'stillness' was a prerequisite for a fine artwork.

'Art History is Technology' - Dr Charlotte Frost

Frost's paper highlighted how digital technologies sought to destabilise the authority of art historical knowledge through references to Foucauldian theory and Derrida's 'Archive Fever'.  Derrida's 1995 theory is contingent upon the external happening to physically materialise a sense of archive.  Frost then went onto relate our current discipline of art history as being deeply embedded in using photography as an analytical and recording tool.  She explored more recent examples (Visitors Studio, 2004) of 'digital art' being created and curated online in a performative manner.  Overall, Frost is proposed that art history relies of technological developments, and latest developments of artists work using digital media opens and expands critical/ historical developments.

'Real Time Realtime - Time as a Technological Material in Art' - Jamie Allen, Newcastle University

Predominantly exploring our experience and perceptions of time in relation to digital media, Allen sets out an art historical context that references the beginnings of conceptual art, Alan Kaprow and a plethora of theorists such as Hansen, Manovich and Heidegger.  Allen's outlined a  theory of our experience of time in relation to digital media; with three distinctions of 'real-time', 'realtime' and 'real time', characterised by conceptions of time, chronocracy, and simulations of the real.  Allen then went onto to relate his theories to examples of digital media artworks, including his own work, that discuss awareness and materiality of time through manipulation of digital processes.

Life after Death - the relevance of digital technologies for entry into the 'canon' of temporary, ephemeral and non-gallery sited works - Tracy Piper - Wright, Glyndwr University

This paper proposed the importance of digital technology, predominantly digital photography, recorded in open access databases online such as Flickr to document 'real' evidence of temporary, ephemeral public artworks.  Piper- Wright's examples of the artist's marketing photography, in contrast with the audiences response online through images of their experience in and around these works highlighted a stark difference in perception and projection of the physical artwork produced an insightful divide between experience and idealised intention of the artist.  Her proposal of 'democratic documentation' presented interesting discussion, questioning ownership of photography of an artists work, and whether this form of documentation can be discussed in other areas of fine art production.

Ben Bunch, 'Entanglements' at The Proposition, New York

Sadly, I will not be able to make it to the exhibition, but I am sorry to miss the current show at The Proposition, New York, which features the three dimensional sculptures of Ben Bunch alongside the abstract paintings of Evan Levine.  However, it is the humorous reproductions of technology by Bunch in the show that runs from the 23rd October until December 5th 2010 at this Chelsea space that I am very sorry to not be missing in person.  Bunch expertly crafts representations of the interior and exterior of everyday technological objects upon through low-fi materials such as foam, chipboard and wire.  The result are playful and cartoon like forms that reference our close, even fond relationship and personal reliance on these objects function and our inability to quantify and fully comprehend their workings.

Ben Bunch, 'Pop-up', 2010, Foam, wireboard, chipboard and glue. 32" x 32" x 15"



Ben Bunch, 'Drill Baby Drill', 2010.  Foam, wire, chipboard and glue.  17" x 17" x 20".

Ben Bunch, 'Force-Field-Donut-Hole', 2010.  Foam, foam core and glue.  26"x 26"x 8".

100sq ft launch at Cholmeley Boys Club, 27th November 2010

My drawing 'Digitas Mundae' is featured in the 100 sqft exhibition, which has a launch party at the Cholmeley Boys Club, 66 Boleyn Road, London N16 8JG from 7pm until 2am with bar and music from 'Our friends Eclectic'.  The exhibition is open daily from Sunday 28th November until Thursday 2nd December, 2pm - 8pm.  Hope that you can make it along!

Big Draw Exhibition at Centrespace Gallery, Bristol



Big Draw Exhibition at Centrespace Gallery, Bristol, October 2010



View of Big Draw Exhibition, Centrespace Gallery, Bristol, October 2010



'Facade (Interface)', Pen, pencil and vinyl on paper at Centrespace Gallery, Bristol

'Facade (Interface)', Pen, pencil and vinyl on paper at Centrespace Gallery, Bristol

Above are images of the Big Draw exhibition at the Centrespace Gallery in Bristol in October 2010, which included my drawing Facade (Interface).  Thanks to Rebecca Edelmann, Gallery Manager at Centrespace for providing the photographs and all her help with the exhibition.  

'Old Media' season at Arnolfini, Bristol

LoveLetters_1.0. MUC=Resurrection 2009

Last week I had a rather lovely day trip to Bristol to collect my drawing from the Centrespace Gallery that was in their October Big Draw exhibition, and to visit the exhibitions in the 'Old Media' season at the Arnolfini.  The series of exhibitions and events explore 'outdated' technologies, and how this media related to society at the time of its use.  The current exhibitions include 'Fun with Software', 'Coal Fired Computers and Tantalum Memorial' and 'Status Project' run until 21st November (11am  - 6pm, excluding mondays). 

The largest, and most engaging group exhibition, 'Fun with Software', does what it says on the tin.  The curator, Olga Goriunova, a Senior Lecturer in Media Practices at London Metropolitan University presents a range of works by artists; David Link, Erik Thiele, Christoph Haag, Martin Rumori, Franziska Windisch & Ludwig Zeller, Harwood, JODI, Shulgin/Laskin; and the RunMe archive that explore humourous approaches to software and processing. 

'Open Circuit', Christoph Haag, Martin Rumori, FranziskaWindisch and Ludwig Zeller

'Open Circuit', is an interactive sound installation, whereby participants can move speakers around a large scale open track circuit that pick up signals of "everyday sounds".  I particularly enjoyed the formal aesthetics of this work, which the audience were able to play around with creating sounds upon the copper tracks.

'London.pl' is a series of large digital prints that rewrite William Blake's London in Perl.Perl programming language.  The language of Blake's original poem is translated into codes and comments.  The most imposing work in  the exhibition through scale and production value is 'LoveLetters_1.0 MUC=Resurrection by David Link - which is reproduction of the Ferranti Mark 1 industrial computer with a built in random generator that produces love letters.  Members of the public can use the software to generate a love letter, which will then be projected onto the wall in the main entrance to the gallery.

'Status Project', Heath Bunting



On the upper gallery, Heath Bunting, who lives and works in Bristol, presents 'Status Project' - work from an ongoing project that seeks to document notions of class systems and identity, through information that is held in administrative databases for the multitudes of organisations and institutions we must be involved with to live our lives as a citizen.  The mapping languages used by Bunting in the large scale recreate interesting topologies of our categorised identities from minor and major personal and commercial decisions. 

SbM



Sara Hughes, 'Digital Mosaic', 2003-4 at the Hocken Library, Dunedin

I recently finished a series of sessions with ex-offenders and volunteer artists that I led at Southbank Mosaics, Waterloo.  We have been working on large scale artworks for the public realm, including a panorama of the Old London Bridge at night.  We also led participants through the NOCN Art and Design Award.  Unfortunately, due to new teaching responsibilities in the Media department at Richmond College, my sessions are now going to be taken over by the lovely Naomi Hope and Jo Thorpe.  I will still be working on a consultancy basis to SbM for commissions and training for staff.

The community interest co-operative offers and provides a constructive and productive route in which to offer skills and boost confidence whilst, learning from your peers in a creative environment.  Whilst working there, I have met so many interesting people from all walks of life. The most inspirational is SbM's Artistic Director David Toothill whose upbeat optimism and tenacity is a very refreshing breath of fresh air. May Southbank Mosaic continue to receive continued support in order to thrive and expand.

Future Everything Festival Proposal - Site Map

Future Everything - Home



Future Everything - Submission Guidelines




Future Everything Submission Guidelines




Future Everything Festival - 2011 website

 

Future Everything - Home

I have been working on drawings for a proposal for the Future Everything Festival Art Submission to exhibit works alongside the 2011 festival in Manchester.  My proposal is a three dimensional installation that physicalises the the architectural forms of the Future Everything website, as it grows over the period towards the festival next year.  Above are initial drawings from the site, from which I would develop a three dimensional installation using drawing and three dimensional construction within a site used by the festival for the events.  The site-specific installation of website will limit the number of users by the physical size of space as opposed to the online site which allows limitless visitors. 





Perspectives Paper, BodySpaceTechnology Journal 2010

The 2010 BodySpaceTechnology Journal is now online, and my perspectives paper 'The D Factor' at Manchester FabLab and the Future Everything Festival, 12-15th May 2010 can be viewed here.

Chongqing Residency 2011, 501 Artspace and Chinese Arts Centre

I was delighted to be notified last week that I am one of the selected artists for the programme of artists for a month long residency at 501 Artspace in Chongqing, China, co-ordinated by Chinese Arts Centre, Manchester.  Over the month long residency, I intend to develop my series of 'Fenestration' Drawings in response to local inhabitants use of digital space as well as a three dimensional installation work.  I also hope to be able to explore relief wood printing at the Sichuan Fine Arts Institute.  Thanks so much to the selection panel for accepting my proposal!

Conversation Piece, Art by Offenders, Royal Festival Hall

'The Cards I Was Dealt', HM Kilmarnock Prison,

'Conversation Piece', HM Prison, Arlington, Bronze Award for Sculpture

Several of the works in the current exhibition 'Art by Offenders' were of strong quality and insight in a range of media from needlepoint to mixed media sculpture.  The exhibition was curated by a group of victims of crime which were sourced by Victim Support, and trained by the Southbank Centre and the Koestler Trust, in conjunction with the former Turner prize winner, Jeremy Deller.  Highlights from the expansive collection of works from Offenders, Secure Patients and Immigration detainees from units across the United Kingdom included the mixed media sculptures 'The Cards I was Dealt' from Kilmarnock, HM Prison and 'Conversation Piece' from an offender in Arlington, HM Prison which received the Bronze Award for Sculpture.    The three dimensional sculpture of a card table was constructed in card, paper, paint and wood, and sadly signified the prisoners birth into a family that was consumed by drug misuse.  The artwork that was featured on the cover of the promotional material was a mobile  of conversation bubbles that was informed by a disagreement that the prisoner witnessed in her art class.  I was interested in the artists direct use of speech bubbles to signify the tenuous and ephemeral nature of the conversations held.  The style of the bubbles were very reminiscent of conversation bubbles in my recent installation, 'Digitas Communitas'.

'Art by Offenders, Secure Patients and Detainees' runs at the Royal Festival Hall until 14th November 2010.

Unleashed Devices, Watermans Art Centre/TINT

'Unleashed Devices' is the current exhibition (1st September - 22nd October 2010) at the Watermans Art Centre, Brentford, that was co-curated by the new media arts organisation TINT.  The extensive exhibition which spans the upper gallery, stairwells and lower foyer presents over 30 artworks from artists or hackers that explore digital and open source networks within their practice. I was familiar with a handful of the artist's practices before attending; the design group Tinker and the collaborative group Owl Project - mainly through their exposure through the FutureEverything Festival 2010.  A large proportion of artists/hackers that also exhibited were graduates of Goldsmiths College's Department of Computing, which was one of the funding bodies supporting the exhibition.

A collection of the artists/hackers work sought to engage the audiences physical body through tracking devices, such as the Haunted Typewriter by Neil Mendoza and Anthony Goh.  As we moved around the plinth where a 'old fashioned' typewriter sits upon, a tracking device activates the key pads of the typewriter to produce the written word on paper.  This work seemed to approach one of the issues at stake here - are these items just gadgets and experiments, or artworks? Indeed, the crowded exhibition layout  involved the audience to walk to each object to investigate its potential rather than be impacted visually by aesthetics or form.  Despite the clear intention to use the digital as a tool to involve the audience, instead of remaining an onlooker, we become part of the artwork,or act as a catalyst per se.

As an artist that does reference the digital, but particularly the architecture that forms the space in which we occupy, I gained a sense of clarity and focus with regards to my own practice.  My own art practice uses non digital processes to explore the intangible space that we daily occupy.  I have often been given feedback, if you are referencing digital space, should you not be using digital technologies to engage participants in the work? Without being able to pin point exactly, I have a strong sense that my exploration should be through non digital processes and constructed by the handmade.

The Big Draw Exhibition, Centrespace Gallery, Bristol

Facade (Interface), 2010. Vinyl, pen and pencil on paper.

One of my recent drawings, from a series of 'Fenestration' drawings, has been selected for the Big Draw exhibition exploring contemporary approaches to drawing at the Centrespace Gallery, Bristol which opens this Friday 8th October, from 6pm - 9pm, and runs until the 14th October.

The series of drawings ‘Fenestration’, considers the changing facade of an institution or organisation.  ‘Fenestration’ is the traditional name for the placement of windows upon architectural structures; usually in a symmetrical manner, and the scale and amount of windows placed were often closely linked with status and social history.  An impressive architectural structure previously exhibited the status and power of an institution and housed its employees or users.  However, the companies interface is now the first point and contact and we navigate services and possibilities through a series of tabs and windows, processing transactions and communications without physically moving.  Digital ‘Fenestration’ is practiced by interface designers, as they carefully select scale, colour and style of frame.  

I began the drawings by sketching out the original facade of the architectural structure, and create a series of preliminary sketches from the institutions website.  I then consider how these forms can combine.  Facade (Interface) (2010) is generated from the facade of renowned department store Selfridges, and its detailed window features are drawn from icons and graphics from their website.  The drawings use the materials of pen and pencil, as well as a large proportion of adhesive vinyl, a common material in shop window advertisements.

The Big Draw Exhibition, Centrespace Gallery, 6 Leonard Lane, Bristol, BS1 1AE

Opening 8th Oct, 6- 9pm. Runs 8th - 14th Oct, open daily 11am - 5pm.

100ft sq, Arts After Dark, ArtEgg Studios, New Orleans, 23rd Oct - 29th Oct

A small recent drawing, 'Digitas Mundae' is going to be exhibited in the 100sq ft exhibition, as part of the Arts After Dark exhibition at the Art Egg Studios, 1001 S.Broad St, New Orleans, LA 70125.  The opening is on the 23rd October from 6.30pm - 8.30pm.  If you happen to be there, please come along!

Digitas Mundae, 30cm x 30cm, pen and vinyl on paper

'Communitas Digitas', Nunhead Open 7, Final Images

The Nunhead Open 7 closed this past Sunday 13th at the Nunhead Community Centre.  It was a very busy few days, with a large amount of visitors to view the Open exhibits and artist's projects, as well as take part in Lady Lucy's Drawing Exchange.  Highlight's for myself were getting feedback and discussion on my work, Frog Morris singing and reading poems and meeting Labour councillor, Fiona Colley, whose blog I referenced within my installation.  Please view some final images below, courtesy of the lovely Dave Barton.

Many thanks go to Jacquie Utley, Charlotte Squire and the rest of The Surgery group for inviting me to take part in the exhibition.