Architectural Ephemera/Intuitive Architecture

osa, MERZEN, CUBE

osa (Office for Subversive Architecture) are currently exhibiting an installation in progress at CUBE, Manchester, inspired by the MERZ collage work of Kurt Schwitters.  The exhibition is part of the North West festival, 'MERZMAN' showcasing events relating to the artists legendary visual practice.

osa is building a three dimensional collage within the gallery space; using the first area as a storage section of building materials.  The objects are then arranged three dimensionally in the second gallery space and down towards the lower gallery. All objects of 'Architectural Ephemera' are collected locally - such as discarded building materials and woodwork. The group place objects within the three dimensional space of the gallery - overlapping and wrapping around existing architectural elements of the building.  The project is separated into three installation stages - with the last stage commencing on the 25-28 March 2011

The press release quotes Schwitters on his approach to composing discarded materials; "Merz is sensing without knowing" (1920).  As a younger student, I was influenced heavily by his use of materials; a tactile approach to collage and 'unknowing' successful composition.  The placing of objects in collage to create composition involves an intuitive process to engage with the materials and space - to achieve a sense of balance.  When discussing composition, it is hard to articulate why certain formal elements work and other do not.  It comes through often an intuitive feeling, an approach quite adverse to a contemporary art discourse centred around criticality.

The exhibition also makes me think of a book I have I recently read by Robert Kronenbourg, 'Spirit of the Machine - Technology as an Inspiration in Architectural Design'.  In the last chapter, he discusses 'Intuitive Architecture', an approach to architecture undertaken by everyday individuals, not choreographed by powerful architects.  He celebrates architecture constructed fully, or just amended - by building materials close to hand, such as discarded wood, or construction ephemera, or the materials specifically local to the area.  Within the installation by osa at CUBE, they are working within this framework, but perhaps oscillating elements of these practices - by creating a three dimensional collage within the traditional display area of the contemporary white cube.

osa/Merzen/ runs until 16th April 2011 at CUBE, Manchester.

Sketchbook at Austin Museum of Art, Texas

My sketchbook, as part of the Sketchbook Project tour leaves Brooklyn, New York, and heads to Austin, Texas, this weekend.  If you are there, pop down. See details of venues below...

March 12, 2011 / 12:00-6:00pm
Austin Museum of Art
823 Congress Ave
Austin, TX


March 13th, 2011 / 12:00-6:00pm
29th St Ballroom at Spider House
2906 Fruth St
Austin, TX

'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.