'Virtually Real' at The Stanley and Audrey Burton Gallery

Thousand Year, Bruce Ingram, 2008

I hope to get up to see the next exhibition 'Virtually Real', at The Stanley and Audrey Burton Gallery (University of Leeds), which opens on the 1st March 2011, and runs until 21st May 2011. 

Guest curated by the artist/curator group Another Product (formed of Dawn Woolley and James Moore) it presents seven artists work that explores and questions representations of space in contemporary society. 

The exhibition includes pop-up drawings by Simon Woolham, collages that reference consumer culture by Bruce Ingram, detailed and complex paintings of multi-dimensional spaces by Grant Miller and video installations by Julia Willms blend into existing architectural spaces.  The exhibition also features work by Dawn Woolley, James Moore, Petros Chrisostomou, Suzanne Moxhay and Jamie Tiller.

Relief Printing

Navigation Structure, Lino cut relief and pen on paper, 8cm x 17cm, 2011

Navigation Structure, Lino cut relief and pen on graph paper, 8cm x 17cm, 2011

Navigation Structure, Lino cut relief on paper, 8cm x 17cm, 2011

Navigation Layout Close up, Lino cut relief on paper, 18cm x 12cm, 2011

Navigation Layout Close up, Lino cut relief on paper, 18cm x 12cm, 2011

This week I have been experimenting again with relief printing, in the above small prints, which are sections of previous drawings.  It has given me a good understanding of the kind of mark making I need to make in consideration with the kind of imagery I am using in relation to Chinese social networking sites and physical architectural layout plans.  I have also been experimeting with oil based and water based inks and pressure levels on the press.  I am now drawing up a larger print, this time in wood, so I will let you know how it goes.

Works in progress...

Recently I have been working on drawings for applications for various exhibitions, and in preparation for the Chongqing Residency.  This week, I have been developing these into relief prints, and printing at college on a lovely Albion Press.  I am thoroughly enjoying it. Images of prints to follow on the next blog post.

Navigation Layout, 2011, Pencil, pen on paper. 17cm x 26cm

Navigation Structure, 2011, Pencil and pen on paper, 10cm x 16cm

EH13 0BD on Google, Pen, pencil on paper, 2011

W14 8XR on google, Pen and pencil on paper, 2011

TW82BQ on google, pen and pencil on paper, 2011

 DD2 on google, pen and pencil on paper, 2011

Map, Pen and pencil on paper, 2011

Nigel Peake and Peter Halley

Often when looking at other artists practice that have links to your own, in attempts to develop and assimilate your ideas, the individual practices of the artists themselves can be so diverse...

Recently, I have been looking at the architectural drawings of Nigel Peake.  Peake illustrates architectural structures and maps in detailed, sensitive and laborious drawings that often appear similar to patchwork or stitching from afar.  In opposition, the boldly coloured paintings, installations and prints of Peter Halley reference the geometric shapes and portals of the interface, and the overworked, colourful, gaiety of digital Internet design.  Enjoy ..

Structures, Nigel Peake, 2008, Self Published

Maps, Nigel Peake, Analogue Books, 2009

Map, Nigel Peake



Maps, Nigel Peake, Analogue Books, 2009

 Peter Halley/ Alessandro Mendini, Galleria Massimo Minini, Brescia Italy

Peter Halley

Peter Halley

 Peter Halley

Community of Practice...

FIELD II, felt, elastic, pins, tape, paper, 2007, 5 x 10m, Harriet Hill

Last week I met with three friends, artists and Goldsmiths MFA graduates for a monthly crit.  As we have known each other for quite a few years now, we understand each others developing practices, and concurrent employment, and how these and other factors can affect our visual artwork. 

Harriet Hill, my old studiomate in the Victorian Baths, is currently working on a series of models and drawings that explore control and power within physical and two dimensional spaces.  I am excited to see the few projects she has been developing come to large three dimensional fruition.  A highly skilled sculptor through and through, Handy Harriet currently works as an Artwork Project Manager for MDM Props.

Hannah Westwood, works in drawings that explore power and chaos within various systems, and is currently working towards her solo exhibition at Tenderpixel in May 2011.  Hannah also tutors upon Foundation Diploma in Art and Design in Norwich, and has been selected for the Artist in Residence programme at Middlesex University.

Lucy Leonard, who came to Fine Art through a conceptual Art/Architecture background at the Bartlett, is now lecturing on the First Year Studies programme at the school.  Lucy showed us examples of the first years coursework, which was very impressive, in particular a project where they responded to various interior sites at Pitzhanger Manor, Ealing through three dimensional constructions.

I talked about recent drawings and work in progress, and we spoke about the ideologies behind my work. I was given helpful feedback of appropriate texts to read or revisit, and discussed aspects of three dimensional/ two dimensional when referencing the architectural or physical interface.

In strong belief of the importance of a 'Community of Practice' (Jean Lave and Etienne Wenger, 2006), I am developing ideas to bring this Crit, to a larger sphere. I will keep you posted, of course.

the delightful work of diana cooper...

I was directed to the work of Diana Cooper by Clare Mitten (see ANALOG at Riflemaker post). Cooper's fantastical mixed media drawings and constructions are created from low fi materials such as felt tip pens, foam, vinyl, velcro and rubber - creating multi layered and textured surfaces, and installations that reference nature, technology and her imagination.  Colourful forms and shapes, often in repetitive forms, create almost decorative pattern that often develops into whirly-gig, carousel like chaos at points and then falls back into a fairground like facade.  What I do enjoy in particular about Cooper's work - aside from its tactility and engaging form - is her nod to instinctual mark making, which is evidently confessed in her artists statement on her website.  And of course, the use of markers, fine liners, sharpies, paint pens and felt tip pens (a shared love of mine) - which Cooper's describes as 'doodling'.

Diana Cooper's works below are of a permanent installation called 'Out of the corner of my eye', 2005, and a mixed media construction, Speedway (2000-2003).

Out of the corner of my eye, 2005

'Out of the corner of my eye', Diana Cooper

'Out of the corner of my eye', Diana Cooper

'Speedway', Diana Cooper

'Speedway', Diana Cooper

'Speedway', Diana Cooper

'Speedway', Diana Cooper

The Sketchbook Project, opens 19th February, Brooklyn Art Library..

One of my sketchbooks is part of the Sketchbook Project Tour, which opens at the Brooklyn Art Library, New York on the 19th February 2011. The exhibition then travels to Portland, Washington, Chicago, Atlanta, Florida, Austin, San Francisco and finishes in Seattle later in the year. Phew!

ANALOG, Riflemaker

AZTECH_Backup, 2010, Mixed Media
Clare Mitten

AZTECH_Toppal (Red), 2010, Mixed Media
Clare Mitten

I very much enjoy the moment when you discover an artists work whose concerns and processes link very closely with your own.  The current exhibition, ANALOG, at Riflemaker presents the work of two artists whose practices explore modes of documenting and reversing technological developments.  Richard Nicholson's photographic practice recorded scenes of professional film darkrooms around London in 2006, documenting of 204 in working practice. When he returned to the project three years later, only 8 professional darkrooms were in business.  The large scale photographic prints document the move from mechanical to digital through still-lives of workrooms soon to be out of action. The series of archival shots document not only working processes with all the physical equipment that goes along with it; but the ghostly physical ephemera of those lives that operating the photographic equipment from the beginning of the printing process until the end - a workforce that has since been retrained or dissipated.

Analogue - Last One Out, Richard Nicholson

In the downstairs gallery, Clare Mitten presents paintings and constructed cardboard objects, where she has 're-analogued' computer and phone technology into awkward three dimensional forms.  Her work carries an aesthetic of conscious amateur, with clearly left evidence of the making process through glue stains, misshapen edges and unsymmetrical forms.  The cardboard models are laboriously built from low tech materials - an application of materials that is also adopted in paintings of such forms -to create abstracted and colourful tactile recreation of these 'perfected' visual objects that we use constantly on a daily basis.  The surface of the card used to create the sculptures is dull in colour and finish; entirely opposite to the glossy feel of any technological gadget.  Similarly, Mitten's paintings of reconstituted and collaged technological objects are painted with what appears to be poster paint on stretched black paper; reminiscent of the budget sugar paper we learn to paint on at school.  The cheery bright colours stay faithful to aesthetic of technological development, and her slow processes, littered with intended mistakes, return our gadgets back to a timeless, humorous beginning.

The exhibition ANALOG at Riflemaker, runs until 5th March 2011.

'Bridging the Gap' - HatchSpace, and other things....

Things have evidently been quiet on the blogging front these past few weeks, mainly due to extended celebrations of turning the big 3-0, which included lots of fun events with friends and family.  One of my favourite treat was going to Gog's taster restaurant, Maze, and subsequently buying a few delightful hand painted textile print patterns from the Paul Smith curiosities shop in Albemarle Street.  The store opened in 2006, when I was working at Archeus, and I used to enjoy popping in to see their interesting assortment of furniture, objects and artwork purchased by Paul Smith and the stores buyer.  Aside from the re-upholstered chairs in Paul Smith trademark stripes, they always stock a delightful collection of objects from a wide range of countries and eras, some quite affordable too, definitely worth a look.

This weekend, on return from Portsmouth from another birthday celebration (this time my friend Victoria's), I visited Deptford's new artist run space, 'Hatchspace'.  Set up by Rachel Price (Gallery Curator) and Alastair Eland (Project Manager), this artist run space provides studio hire and a medium sized white cubed gallery space. 

HatchSpace's inaugural exhibition, 'Bridging the Gap', presents works from six artists whose practices explore mainstream interpretations of digital technology as sometimes evangelical development, combining predigital techniques and orthodox presentation to create a questioning hybrid.  Zachary Eastwood- Bloom presents three dimensional ceramics plates of pixilated landscapes that re-physicalise digitally recreated surfaces, as well as a series of prints of CAD drawings that are presented conservatively in traditional white cube gallery frames.

Echo Shift, Ceramic, Zachary Eastwood-Bloom, 2010

Echo Shift, Ceramic, Zachary Eastwood Bloom, 2010

Echo Shift, Ceramic, Zachary Eastwood Bloom, 2010

Landscape II, Screen -print on paper, Zachary Eastwood Bloom, 2010

Another artists work that resonated with me was the three dimensional cardboard and printed construction by Joseph Gower, that greeted us at the entrance of the gallery, almost like a promotional board for a product or film.  Gower's practice explores translations of photographic imagery through both mechanical and digital production, questioning the tensions between supposed realities and imitations of the 'real'.  The curated group exhibition also features works by Gabrielle Hoad, Jochen Klein, Tom Smith and Rupert White.

Untitled Between Two, Joseph Gower, 2010