Archives for posts with tag: lighthouse

Lizard Point Residency Exhibition travelled from the rambling halls of The Museum of Cornish Life in Helston to the subterranean curves of Lumen Studios Crypt at St. John on Bethnal Green London. A squeeze for eighteen artists but helped by the crossovers in work created responding to the communication heritage and dark skies of the Cornish Coast experienced during the early spring residency.

1910 at a distance sculpture

My contribution to this exhibition At a distance (click for video link) 

Solitary figures using semaphore flags sign ‘We Are One’ out across the ocean; filmed on 29th March 2019 (the first date the UK was supposed to leave the EU).

1910 At a distance semaphore

As in entanglement theory where two paired electrons mirror each other at a distance it is hoped the message will be echoed back.

1910 At a distance echo

The work looks at methods of communication across space. It relates this to the mysterious twinning of electrons in quantum entanglement where particles link in a way that they instantly affect each other, even over vast distances, and which Einstein famously called ‘spooky action at a distance’. The resulting video is back projected onto a Fresnel lens, the type found in lighthouses to increase luminosity of the lamps beam, another form of messaging over distance.

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The semaphore sequences interplay with mirrored imagery of the lizard lighthouse lamp as it powers up gaining brilliance as darkness falls.

1910 At a distance lamp 2

Astro-archaeologist Carolyn Kennet gave a very interesting talk at the exhibition private view. We often think about how long it takes light to travel from the stars to us but as she pointed out, this year sees the 400 year anniversary of Lizard Lighthouse and if you were looking back towards Earth from the Pleiades which are around 400 lightyears away you would just be seeing the photons of light arriving from the lighthouse as the first fires were lit to guide the ships navigating the treacherous rocky seas.

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A short video documenting Continuum has been released by Allenheads Contemporary Arts. An inspiring season of art, science and speculative fiction ending in a midsummer’s weekend of extraordinary events.

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Out of Studio…

Other Spaces at 180 The Strand

Light and Sound Installations from London-based United Visual Artists founded by Matt Clark who integrate new technologies with traditional media such as painting, sculpture, performance, and site-specific installation.

Vanishing Point is inspired by Renaissance drawings by Leon Battista Alberti, Leonardo Da Vinci and Albrecht Durer.

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The Great Animal Orchestra –  a soundscape of animal recordings, captured in their natural habitats around the world by sound ecologist Bernie Krause visualised by UVA into abstract spectrogram landscapes of the environments where the animals live.

1910 UVA Bernie Krause

ERRATA (Extreme Remote Rural Artist Travel Agency) Gaada hosted by Creekside Artists for Artlicks Weekend 2019.

Ever wished to leave the city for a far away place + a new island life? Shetland artist-led initiative Gaada critically explore the barriers and benefits of contemporary art practice in extreme, remote, rural contexts. What does an art ecology look like without buyers / galleries / studios / making facilities / public transport links ?

London visitors were invited to answer questions posed by the artists and consider how an art practice might be sustained outside of the city.

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Emerging Cosmic Landscapes Symposium at University College London.

An event exploring the benefits of art/science relationships at the culmination of Lisa Pettibone’s year-long residency at Mullard Space Science Laboratory (UCL) along with collaborator Dr Tom Kitching, science lead on MSSL’s Euclid Mission and Ben Murray (Kings College London and co-director of Phenotypica). What came across was the shared benefit of cross discipline collaboration. The artist enjoying access to question the motivations of the scientists and observe their operations while opening up a more sensory approach for the scientists to engage with materials and use hands on ‘play’ to explore ideas.

‘The ability to perceive or think differently is more important than the knowledge gained’ David Bohm

1910 Lisa Pettibone

The Star Survey Workshop at Guest Projects created by Niccolò Moronato.

‘We base our knowledge of the universe on science and scientific exactitude, but at the same time, we can’t help but use exotic drawings in the sky to orient our searching and predict future events. So what would happen if we moved to an entirely new context?’

Through a scientific collaboration with Chicago’s Adler Planetarium Niccolò Moronato was able to obtain the first photographic view of the sky from Trappist-1, a ‘twin’ planet of Earth located 40 light years away and make an attempt to become familiar with the new sky.

In the workshop we were invited to draw upon random patterns taken from the Trappist sky. Our interpretations were then looked at by the group to tell a story from the collective imagination which would become the mythology of this alien constellation.

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Artist Workshops at The Bomb Factory with Kate Fahey and curator Séamus McCormack as part of  ‘Scaffold’

We were invited to bring along an object / text / image, which has been key in the development of a recent work or has been sitting in the studio and is in someway relevant to a project you are working on or your wider artistic practice. We each wrote our thoughts about one of the items brought and then discussed our responses as a group. This led to wider conversations about work methods and outcomes which helped analyse the process of creating to give us shared insights into the creative process. This was followed by a discussion on support structures an artist relies on and a closer look at how an artists time and energy is divided between creativity and practice maintenance such as social media, open calls, galleries and finance.

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The exhibition Scaffold looks at the structures we may encounter in our daily and digital lives and the anxiety we feel when those structures break down. Situations are posed of an overload of information, loss of a wi-fi signal, loss of memory, incomprehensible data, the inability to access information. The fallibility of how information is stored and communicated whether in the mind, on a data stick, a book, in radio waves, remotely via drone and digital signals is considered. The overall effect leaves the viewer on unstable ground looking for that scaffolding to hold onto to, a return to the body and the physically known.

1910 Scaffold

Kate Fahey’s practice explores embodied experiences with contemporary screen-based, techno-scientific images, reimagining bodily presence in the military’s highly mediated representation of warfare online. Adam Gibney’s works highlight the relationship between scientific uncertainties and the anxious state we sometimes occupy. Jonathan Mayhew is interested in moments when edges blur and ideas of ourselves along with the world around us are ruptured.

 

A happy return to Allenheads Contemporary Arts for Continuum research.

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It is a place which pulls you in like gravity or a magnetic field. It would be no surprise to find a wormhole portal here.

Joined by Annie Carpenter, Nicola Ellis and Robert Good we spent the time reading, walking, thinking and sharing ideas.

“The miners did not find the riches they hoped for and the tunnel never reached its destination…”

Theoretically it is possible that wormholes exist. Every point in spacetime could be connected by a hidden web of tiny wormholes left over from the beginning when the universe was turbulent and unformed. Should they be discovered, to open them and pass through would require a colossal amount of negative energy which we are unable to create with current technology. However, there is a lot of metaphysical negative energy around at the moment so maybe this could be used to power a wormhole.

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The Allenheads Blacksmith’s Forge seems a good place to open a wormhole portal. It is a place of high energy collisions and hot fusion.

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It is also home to a collection of local rocks and crystals which must surely offer some negative energy cleansing properties. For research imagery my glass sphere encapsulates and condenses its surroundings. If the image is made to spin fractals begin to appear.

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I also captured the landscape at speed as travel through the wormhole would exceed the speed of light.

1904 ACA at speed

I probed the depths of rabbit holes with an endoscope camera and discovered alien landscapes and the hidden web of the interconnected root system.

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We made a site visit to Newcastle University to view the space that Allenheads Contemporary Arts will performatively occupy during The Late Shows

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As the project Continuum focuses on ideas around speculative fiction the newly installed Museum of Classic Sci-Fi in Allendale made an interesting day out with an impressive collection of artefacts and information.

Plasmaton:”ramdomly formed blobs of protein, wrought into being ‘psychokinetically’ …”

1904 ACA the classic sc-fi museum 6

The Cosmic Sublime exhibition presented by Lumen Studios opened at The Pie Factory in Margate. The concept of the sublime has long been associated to both fields of astronomy. Derived from the Latin “sublimis”, the sublime is translated as “set or raised aloft, high up”- etymologically the word “sublime” is very much linked to the space above our planet and to what may inhabit it.

I was pleased to show the video Soft Borders made with dance artist Paola Napolitano.

1904 Cosmic Sublime Susan Eyre

The video speculates on the idea of a universe that is a finite shape but has no borders. If we were able to exit at one point we would immediately re-enter at another point. It also considers our body in a similar way with open borders for the unseen passage of cosmic rays and other particles.

Thanks to artist Rosie Reed Gold for some great photos of the show.

My wonderful optician John Rose spent some time scanning my iris for me.

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This is for work I am planning looking at the possibility that we retain some residual magnetoreceptor in our eyes that once enabled us to navigate using the Earth’s magnetic field. And other ideas.

In 2019 the Lizard is celebrating the 400 year anniversary of Sir John Killigrew’s building of the first lighthouse on Lizard Point in 1619. The lighthouse also has important links to the search for reliable Longitude measurement, with an assistant to the astronomer royal visiting the lighthouse at the time of the first Transit of Venus to record an accurate location for the Lizard Rocks.

1903 lighthouse lens

Following on from the Lizard Point Residency I have made a mock up to test the Fresnel lens projection work. A film exploring entanglement and communication across distances will be back projected onto the lens.

1904 at a distance mockup

Joined by Anne Krinsky and Carol Wyss, we made another site visit to St. Augustine’s Tower in Hackney and made some decisions about who would install where for our upcoming group show which will be titled Reading Stones.

1904 St Augustines Tower Clock

Reading Stones were the original tool for magnifying text, first made from polished glass or crystal in the 13th Century – the same era the tower was built.

I will be installing in the room that houses the clock mechanism. It is a wonderful animated machine. On the way home reading Carlo Ravelli’s book The Order of Time I came to the passages quoting from St. Augustine.

“It is within my mind then, that I measure time. I must not allow my mind to insist that time is something objective. When I measure time, I am measuring something in the present of my mind. Either this is time, or I have no idea what time is.”

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The British Library have released some excellent scans from their archives for free use.

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While in Suffolk visiting family I made a detour to Dunwich and found the tide clock has become redundant.

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Time and Tide wait for no man. The earliest known record is from St. Marher,  1225: “And te tide and te time þat tu iboren were, schal beon iblescet.”

In my present, the ruins of Greyfriars Monastery at Dunwich where large chunks of the coastline have fallen into the sea.

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The last gravestone standing as the land crumbles

1904 the last grave Dunwich

In the studio –  Sugar lift for work looking at cycles and forces

1904 sugar lift magnetic field

Copper sulphate etching

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Four colour separation screen-print

I made two pieces – one delicate etch, one fierce

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This is an amalgamation of images from the ruined Waverley Abbey and St. James Church Weybridge – not ruined in my present. Sanctified spaces drawing people to them who seek transformation. All matter becomes regenerated.

Out of  the studio…

Another Land at Kingston Museum, a showcase of experimental visualisations of place to draw links between creative practice and anthropology, archaeology, architecture and geography.

1904 Another Land Victoria Ahrens

Victoria Ahrens Lleva y Trae (2019) Exploring notions of the politics of place, resistance and ruin looking at the spaces between what we know and what we think we know about the world

 

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Matthew Flintham Nuclear Airspace  – The radial danger areas surrounding active nuclear power plants in the UK.

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I liked the collection of remote controls –  accidental installation

 

 

 

Anamorphic Waves at Ugly Duck.

1904 Ugly Duck Anamorphic waves (1)

An exhibition exploring how digital interfaces and technological tools are reshaping our personal, professional and ecological relationships, and how they have modified our view of love, sexuality and gender.

1904 Ugly Duck Anamorphic waves (2)

I liked this work looking at big data. I was intrigued how the multiple projections were installed, baffling as only two projectors in the room and neither seemed to be pointing in the right direction.

1904 Stuart Faromarz Batchelor

Mesmerising images from Stuart Faromarz Batchelor who explained some of his methods working with oil paint and coding algorithms which respond to the brush strokes via a camera link at the latest Flux Social Event.

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Visceral and beautiful work at the Hatton Gallery in Newcastle, the exhibition presents a dialogue between oil paintings by Francis Bacon and Morphia, a series of works on paper by Ellen Gallagher.

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Great installation looking at the moon from an earthbound perspective from Shaney Barton. Anomalous Mass is showing at Allenheads Contemporary Arts Gallery as part of the Continuum series of events. Multiple screens show footage captured of the moon over a ten-month period with found dialogues on recent moon histories and projected near futures of the moon race and plans for human colonisation.

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Wonderful poetic visons, some realised some imaginary from Katie Paterson at Turner Contemporary with A place that exists only in moonlight.

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Like Paterson, JMW Turner was fascinated by the sublime wonder of nature, capturing the changing and atmospheric qualities of light, air and weather in his paintings, while also being deeply curious about science and the physical world. Paterson has selected a group of over 20 Turner watercolours and paintings to be interspersed with her works.

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Also on display were some of Caroline Herschel’s notebooks describing her extraordinary astronomical discoveries of comets made by patient observation.

1904 Caroline Herschel notebook

Great to be able to see the screening of Sarah Sparkes film Time You Need and her GHost Tunnel installation in The GHost Parlour at New Art Projects. The GHost Tunnel references portals, black holes and equates time travel with death as another dimension that we may enter.

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The film gently leads the viewer on a journey beyond the physical and explores the potential for consciousness to time-travel within the material limits of the human body.

1904 Sarah Sparkes still-from-film-Time-You-Need