Archives for posts with tag: jane ward

1309 Palazzo Zenobio

Space, a nebulous concept, we tend to like to measure and quantify it.

1309 goal

Marking out a space for a purpose.

The Icelandic Pavilion at the Venice Biennale investigated architectural drawings to contrast the function of a workplace  with the opulence of leisure pursuits.

One blueprint is placed over another.

Katrin Sigurdardottir 'Foundation'

Katrin Sigurdardottir ‘Foundation’

Using the site of an old laundry in the grounds of Palazzo Zenobia, Katrin Sigurdardottir imposes an ornate tiled floor with opposing dimensions into the structure of the former workplace.

Katrin Sigurdardottir 'Foundation'

Katrin Sigurdardottir ‘Foundation’

The swirling baroque inspired patterned floor spills out from the old foundations.

Katrin Sigurdardottir 'Foundation'

Katrin Sigurdardottir ‘Foundation’

The audience is directed through the space by the curiosity to explore the openings and exits that lead through the building and up onto the roof.

It is an Alice in Wonderland experience of displacement.

It also makes you think of the people that worked in the laundry and those that danced on such a floor, and how those disparate worlds may have intersected.

At the Montenegro Pavillion Irene Lagator Pejovic has not drawn a line around space but filled it up with the finest wires strung taught across the dark room and lit so as to appear ethereal.

Irena Lagator Pejovic

Irena Lagator Pejovic

It gives the impression of making light itself tangible.

Irena Lagator Pejovic

Irena Lagator Pejovic

She wants us to think about perceptual awareness, to be conscious of our body in space.

One of my favourite exhibitions which really defined space through line was ‘A remote whisper’ from Portuguese artist Pedro Cabrita Reis.

Pedro Cabrita Reis

Pedro Cabrita Reis

Drawings in space.

Pedro Cabrita Reis

Pedro Cabrita Reis

Aluminium tubes, fluorescent lights and cables flow through the corridors and rooms of Palazzo Falier adding a new vibrancy to the magnificent ancient building.

Another artist using the fluorescent tube as a drawn line is Bill Culbert for the New Zealand Pavilion.

A sculptural meditation on shelter, habitation and dwelling.

Bill Culbert

Bill Culbert

It was a building shot through with light, like a ricochetting laser beam had caused havoc, piercing and displacing objects in its path.

Bill Culbert

Bill Culbert

I was interested in his use of recycled plastics.

Bill Culbert

Bill Culbert

The catalogue accompanying this exhibition cites the historic image of Adam’s Hut in Paradise as a possible point of reference  for Bill Culbert’s Hut, made in Christchurch.

Bill Culbert Hut

Bill Culbert Hut, made in Christchurch

I had a quick look to see what references I could find about this mythic hut, there is a book called On Adam’s House in Paradise by Joseph Rykwert that looks like it could be interesting.

It has a look back through history to try and trace the first ideas about a place of dwelling.

Christchurch being the site where many buildings were recently destroyed by earthquakes for me it looks like a memorial to those buildings that fell.

The bare bones of a structure, no roof, no walls – the space that once held a dwelling marked out in light .

Susan Hiller was showing her series of photographs The Secrets of Sunset Beach at Timothy Taylor Gallery in an exhibition looking at interpretations of the American Landscape.

Susan Hiller Secrets of Sunset Beach

Susan Hiller Secrets of Sunset Beach

Through the use of projected light these spaces become magical, alive with weird hieroglyphs.

Susan Hiller

Susan Hiller

The inner space of the beach hut mirrors the dappling of sunlight outside.

Planes are distorted and the edges of space become blurred.

Had another chance to see the amazing work of Jane Ward.

These two images are a couple of favourites.

Jane Ward Inland

Jane Ward Inland

Space is not so much delineated as exploded.

Jane Ward In the Bay Shining

Jane Ward In the Bay Shining

What is wonderful about Jane’s work is that it works from a distance, a spectacle of dissolving worlds but it also works up close where the minute detail is crisp and intricate.

They look like landscapes from The Fifth Element where flying cars would come in handy.

I have been working on the more local urban landscape of the roundabout.

Following directions, a flow.

Collagraph Prints

Collagraph Prints

These was a meagre tree on the roundabout – an attempt at a green oasis in the grey. I did have the tree in the first collagraph I made but have removed it. It needed to be intaglio not relief – something to bear in mind for next time I want clear dark lines with no ink pooling around the edges.

Collagraph plate

Collagraph plate

I also ended up cutting the collagraph so the sky was printed separately. I have to decide which print to use for the tear across the surface. Opening a space to fantasy. I have had the ‘paradise’ image printed which will go behind the collagraph print once it is transferred to polyester – only a small fragment will show but because the tear will be random I have had it printed full size. Even though most of the image won’t be shown I think it is important it is there.

1309 paradise

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Jane Ward at BEARSPACE

Jane Ward at BEARSPACE

Had the opportunity to meet Jane Ward whose work I have always admired at BEARSPACE. She was giving an informal talk about her working methods, how she chooses the images she then manipulates, her sources and inspirations.

She often uses aerial shots as a base from which she builds her imaginary worlds and the end result does have the feel of looking down, spiralling towards the ground as all perspectives are lost in a disorienting chaos. She says it is important that within this chaos there is space to escape and so always leaves an area of light in her work for this purpose.

Noa and Hannah had filled the walls of their beautiful Dulwich house with a wonderful selection of their paintings and prints. Each artist complementing the other as they both have a mystical quality to their work.

Noa Edwards

Noa Edwards

There is lots of space in their work for the viewer to become involved, Noa’s dark photograms have a ghost like ethereal haze making the images indistinct and alluring and Hannah’s colourful assemblages are joyous and expressive.

Hannah Williamson

Hannah Williamson

Marking Time with Debbie Lyddon at the Crypt Gallery.

Debbie Lyddon

Debbie Lyddon

Through the use of materials Debbie investigates the possibility of expressing time passing through process and experience.

Debbie Lyddon  Bitumen Buckets

Debbie Lyddon Bitumen Buckets

Letting the material do its own thing. These bitumen coated canvas buckets filled with salt water had been left  to evaporate for 6 months but were having the process of crystallisation reversed in the damp environment of the Crypt.

Time is not linear.

Lizzie Cannon is also interested in materiality and has used her residency at Bow Arts to explore using porcelain in her practise.

Lizzie Cannon

Lizzie Cannon

Her delicate sculptures look like they might have been formed over thousands of years from dripping limestone, they have the strange forms and translucent quality of stalactites .

Lizzie Cannon

Lizzie Cannon

Creating work that blurs the boundaries between the organic and the inanimate she fuses materials and forms together confounding us with a mix of the unexpected yet vaguely familiar.

At the theatre it has been a mix of the political, politically correct and not.  I enjoyed Stuart Lee’s understated observations on the possibility of him voting conservative at the Loving Linda fundraiser for ovarian cancer. An evening of comedy in the wonderful Linda Smiths memory.

Linda Smith

Linda Smith

‘This House’ by James Graham playing at the National tells the tragic tale of the last days of the labour government pre Thatcher, the like of which will never be seen again – it didn’t seem appropriate somehow to well up at a political satire but it was heart-breaking stuff. All the more tragic in retrospect knowing now what was to come.

This House

This House

I had expected to well up at ‘Joe Egg’ but in fact it never really cut beneath the surface, written at a time when the language of disability had not been reformed it was slightly uncomfortable to listen to but as it was so dated it was hard to empathise and finally feel any real emotion. Top marks for the acting though.

Sally Tatum in Joe Egg

Sally Tatum in Joe Egg

The V&A had gone to town with their Bowie extravaganza – great use of location sensitive headphones adding the appropriate soundtrack.

1305 Bowie

He has wowed us all again this year with his new tracks and another collaboration with Tony Ousler to produce an enigmatic video.

Bowie and Ousler collaboration

Bowie and Ousler collaboration

I was interested to hear about Bowie’s lyric generator which spliced random articles together – a lot of it made no sense but there would be the odd phrase that would capture his imagination and from there he would begin to write. It seems a fun way to work, loving rules and lists it really appeals to me. I could make work from a random starting point each time or follow a method like with my food shopping where I buy the next thing on the shelf to what I bought last week. This removes all tedious decisions about what to cook and throws up lots of interesting combinations for meals forcing us to eat things we might never have tried. However, instead of randomly generating ideas I am trying to keep focused on what I believe to be the nub of my interests –  the cultural impact of our disconnection with nature. Thinking about the evolution of the first trees and what they looked like  I cut some ferns in the garden just as they were about to unfurl – I have scanned them and was really pleased with the detail. I am pressing them and hope to use them to make  monoprints over the iceberg collagraph.

1305 Fern

Have made a good investment in a plan chest – now that I am working on paper a fair bit.

1305 plan chest

So lovely to have tidy studio and somewhere to lay stuff out.

At Ochre I have been adding some more layers to the iceberg collagraphs.

1305 at Ochre

I am concerned that I have got a bit too seduced by the wonderful colours of the inks.

I am not really satisfied with the image  – need to think about this a bit more.

I am planning on adding a layer of printed organza over the trees to give more depth.

1305 dark trees

1305 light trees

I think I need to go back to a grayscale palette.

I have been working on a new stencil image for the forest, something which hopefully disrupts the landscape more  – and have been thinking about adding some beasts of the forest too.

Not worrying too much about historical accuracy but about the feeling of the forest being something menacing advancing across continents.

A more imaginary world.