Archives for posts with tag: space

Been spending a lot of time in the etching workshop.
It all started with a photo of Paradise Forum shopping mall in Birmingham.
Everyone looked so pissed off – yet if they just looked beyond to the cosmos, wouldn’t they be dazzled.
I thought the two girls on the steps looked like they had their feet dangling in space, that they were sitting on the edge of something, awaiting their escape.

Of course the word Forum conjures up ideas of a Roman Forum, from which I segue to amphitheatre, a place of gathering, like a shopping mall. A sense of history of construction, of public space.
This small exert of life on earth in fadeout – a temporal moment.

Paradise Forum B3

Paradise Forum B3

I listened to Bill Viola being interviewed about his current retrospective at the Grand Palais in Paris which I hope to visit shortly. He talks about the brevity of our lives and how it is really important to leave behind some knowledge or some new thing for the next generation, it can be something really simple. Through knowledge we gain transformation. But beware, too much information can become a pollution and we have to separate out the unnecessary bombardment of advertising and media sources from the good stuff that enriches us.

1404 Bill Viola

Also looking at  the work and ideas of James Turrell. His formless landscapes of light with no object, no image and no focus leaves us only with an awareness of ourselves looking and an experience only felt otherwise in dreams, meditation or near death experiences. I can remember my visit to Gagosian a few years back to see Dhatu – staring into a pink misty void, anticipating angels.

 

JAMES TURRELL  Dhātu, 2010

JAMES TURRELL
Dhātu, 2010

 

In ‘Once Upon a Time’ Steve McQueen presents 116 images from Karl Sagan’s Golden Record which was launched into space in 1977 to enlighten any extraterrestrials about life on earth. McQueen overlays geographical images and scientific diagrams with the sounds of people speaking in tongues. The highly factual with the highly emotional – potentially equally indecipherable to aliens but showing an alternative side to human nature other than the one NASA documented.

Steve McQueen - Once Upon a Time

Steve McQueen – Once Upon a Time

In ‘The Dry Salvages’ Elisabetta Benassi presents 10,000 bricks made from clay taken from the 1951 Polesine flood area (one of the largest natural disasters in Italy) that are printed with the names and codes of the largest space debris orbiting the earth.

1404 Elisabetta Benassi (2)

Elisabetta Benassi – The Dry Salvages

Power of nature, power of nations.

Elisabetta Benassi - The Dry Salvages

Elisabetta Benassi – The Dry Salvages

The regeneration of matter. The impossibility of control.

Advertisements

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

My visit to the Venice Biennale was marked by my receiving news that I had a place at the Royal College of Art for the Autumn.  A great start to a very inspiring few days.

It does feel a bit like I am going to be launched into space. Exciting and an amazing opportunity but also not knowing what to expect with anxieties that I will be lost or unable to cope.

Bedwyr Williams ‘The Starry Messenger’ and Sarah Sze’s Triple Point both explore feelings of place within the universe. Very apt for my frame of mind.

Wales in Venice

Wales in Venice

‘The Starry Messenger’ explores the relationships between stargazing and the individual, the cosmos, and the role of the amateur in a professional world.

Inside the former church and convent in a darkened room there is a small observatory with a door ajar through which we can see the starry cosmos. There is the sound of a man weeping, just like Kevin does when he thinks about the vastness of space and his own insignificance. Moving through the installation you walk under glass with household objects placed on its surface above your head which I took as a possible reference to Leonardo Da Vinci’s drawing ‘A cloudburst of material possessions’. Maybe it is space debris.

Bedwyr Williams The Starry Messenger

Bedwyr Williams The Starry Messenger

There is a film with a Mighty Boosh style protagonist who represents a character trapped within a mosaic mural.

Bedwyr Williams The Starry Messenger

Bedwyr Williams The Starry Messenger

From the geological formation of stone out of oozing mud through its journey and subsequent use in a mural to the demolition of the building and its return to the earth. From looking out at the stars through a telescope to ‘staring into space’ the outer and inner worlds collide in a wonderfully amusing narrative encompassing the life the universe and everything dialogue.

Bedwyr Williams The Starry Messenger

Bedwyr Williams The Starry Messenger

Sarah Sze explores the desire to locate our place within a disorienting world.

Sarah Sze Triple Ponit

Sarah Sze Triple Point

Her fragile sculptures echo the balance and chaos of the world around us.

Sarah Sze Triple Point

Sarah Sze Triple Point

They appear to spin or be in the process of expansion, beautifully mysterious like the working of the atom or the universe they are full of wonder.

Sarah Sze Triple Point

Sarah Sze Triple Point

Playing with pattern, order and taxonomy she creates a laboratory busy in its own pursuits which makes us feel we are close to understanding something great.

Sarah Sze Triple Point

Sarah Sze Triple Point

I was excited to see she had used moss a lot throughout this installation, even turning its image into wallpaper.

Sarah Sze Triple Point

Sarah Sze Triple Point

Triple Point refers to the phase when gas, liquid and solid form of a substance are all in equilibrium, her use of natural forms keep our ideas grounded in our surroundings while drawing us into the mysteries of evolution.

The extraordinary collection of stones once owned by artist Roger Caillois were on display in the Central Pavillion.

Roger Caillois Stones

Roger Caillois Stones

Caillois believed that nature should be examined as something other than as the utilitarian force that Darwin purported and that aesthetics and the need for decoration should be considered integral to our understanding of the natural world.

Roger Caillois Stones

Roger Caillois Stones

He considered the beautiful patterns within ancient natural forms were a sort of cryptic ‘universal syntax’, a unifying aesthetic language.

Roger Caillois Stones

Roger Caillois Stones

He wanted to understand the mysteries of the subjective experience through its relationship to factual reality.

I find it fascinating trying to understand the aesthetic experience.

Gerhard Richter’s tapestries at Gagosian, Davies Street emanate pure aesthetic pleasure, colours and form coalesce erupt and fade.

These works are based on Abstract Painting (724-4) (1990). The visual effect of the tapestries is a Rorschach-like multiplying of the forms and colours of the original canvas.

Gerhard Richter

Gerhard Richter

Like entering a hypnotic state, like staring into space both literally and metaphorically you are transported to a place where it feels familiar and strange at the same time.

Gerhard Richter

Gerhard Richter

Venice was a perfect location to think about mysteries, the sacred and the wonders of the world.

1307 Monastry

I have been getting up close to mud and matter and thinking about the makeup of the environment around us.

It’s hard to look at a cup say and imagine the structure of its atoms. To think about the solid and then the squishy and how it all works.

From thinking about the origins of things, like the first plants and forests. Evolution and yet how all matter existed from the beginning and it’s just a huge process of recycling.

Deptford creek

Deptford creek

A great place for a new perspective on your surroundings is the Deptford Creekside Centre where you can join a low tide walk.

Low Tide Walk

Low Tide Walk

Equipped with thigh length waders and a long stick you are led down to the creek and given lots of insight into the history and wildlife of the creek.

Deptford Creek Crab

Deptford Creek Crab

It is stunningly beautiful and feels a real privilege to enter this world below the horizon.

Deptford Creek

Deptford Creek

The river has carved intricate sculptures into the wooden posts along the banks.

Deptford Creek

Deptford Creek

The look posts look totemic and hung with vibrant algae quite primordial.

Deptford Creek

Deptford Creek

The creek bed is thick with mud and slime creating wonderful patterns as the water recedes.

Deptford Creek

Deptford Creek

There is the possibility of finding treasure swept along and revealed after each tide but you must ask if you want to take anything away. They have quite a collection of finds they like to add to at the discovery centre.

Deptford Creek

Deptford Creek

On a previous trip artist Lizzie Cannon had been lucky to find a wonderful rusty object which she has since embroidered with threads and beads to continue the growth of the rust giving the object a new organic dimension

Lizzie Cannon - Corrosion

Lizzie Cannon – Corrosion

A Matter of Substance exhibition and salon curated by Caroline Lambard and Elizabeth Murton at APT Gallery encouraged their audience to look beyond the surface of the material to the very structure of the crystals, atoms and particles that form them.

1307 A Matter of Substance

Catherine Jacobs beautiful photographs show tensions of surface sometimes broken by an indeterminate object that works as a disruption to the surface and our perceptions of what we are looking at.

Catherine Jacobs Uncertainties

Catherine Jacobs Uncertainties

Elizabeth Murton’s scroll flows out across the floor in symbiosis with the marks upon it like a cascade of data presenting itself as a record of the inks journey.

Elizabeth Murton

Elizabeth Murton

Cool work for a hot day.

Phillip Hall-Patch

Phillip Hall-Patch / Caroline Lambard

There were salt crystals that sparkled like snow in magnified form like Icelandic landscapes and in salt block form eroded by a constant drip of water.

Phillip Hall-Patch Salt LIcks

Phillip Hall-Patch Salt LIcks

Caroline Lambard’s ethereal sculptures help to imagine 3D form from all perspectives through their delicate drawing in thread to delineate a space.

Caroline Lambard

Caroline Lambard

I have started on a new piece of work, the idea of an oasis, an escape, a view through to another place so it has been interesting to think about form and space.

A solid outer that hides a world inside.

1307 Oasis collagraph 1

It starts with the construction of a collagraph which I am slowly building up from cut card and carborundum.

1307 Oasis collagraph 2

Once made the idea will be to rip a section out to reveal an internal space.

Tumbling through time
1307 Tardis-in-Space

Space has been a bit of a theme in my recent excursions – in a sense of delineating a space architecturally as Charles Avery does in his precise drawings of an imagined world; in the exploration of space examined through Cristina De Middel’s photographs of ‘Afronauts’ which also play into ideas of sci-fi as does Jess Littlewood in her fictional landscapes; in attempting to make the unknowable palpable, Luci Eldrige has used radar imaging of Venus undertaken by NASA and translated it into richly coloured etchings. Then there is the space where the making takes place – the art institution.

The RCA SHOW has come around again.

RCA SHOW 2013

RCA SHOW 2013

This year the experience was heightened by the possibility that I may one day get the chance to participate in the creative dialogue of this institution.

Look at that amazing space for making.

RCA printroom

RCA print room

Since my application and interview in March I have received some really positive feedback from Jo Stockham the head of the printmaking course.
I have been encouraged to apply again next year if a place doesn’t become available for me this year so I was keen to see what the current graduates were exhibiting and if I could see progression from the exhibition they had in spring at Café Gallery Projects.

A favourite was Luci Eldridge. Fascinated by the ‘invisible visions’ acquired through the use of science’s cybernetic eye, she is captivated by images of lands we cannot empirically experience.

Luci Eldrige - four colour photo etching

Luci Eldrige – four colour photo etching

I also identified with the work of Jessica Wallis ‘The History of the End of the World’

Jessica Wallis - Book Cover Series

Jessica Wallis – Book Cover Series

Jessica Wallis - Formula for disaster DVD

Jessica Wallis – Formula for disaster DVD

Jessica Wallis - Formula for disaster dvd

Jessica Wallis – Formula for disaster dvd

I was intrigued by the films of Nicola Thomas – ‘Imitation’ and ‘ Dancing with Monk’ and her etched prints from The Look Series were captivating.

Nicola Thomas - Carole #3 etched print

Nicola Thomas – Carole #3
etched print

Bee Flowers work has a feel of the mausoleum

Bee Flowers - plaster acrylic

Bee Flowers – plaster acrylic

Alice Hartley must have had some upsetting school reports

Alice Hartley - screenprint on blue black paper

Alice Hartley – screen print on blue black paper

Elizabeth Hayley’s prints on brass had a wonderful quality of time passed

Elizabeth Hayley - silver gelatin on brass

Elizabeth Hayley – silver gelatin on brass

Yanna Soares - Loom of Neith - silk embroidery on etchings, cotton thread, wood

Yanna Soares – Loom of Neith – silk embroidery on etchings, cotton thread, wood

Liz Lake - run aground

Liz Lake – run aground

Hannah Thual - between exposed and concealed

Hannah Thual – between exposed and concealed

I realise I must have missed some of the printmaking exhibits.

From Painting I really related to the work of Zoe De Soumagnat

Zoe De Soumagnat - Al Fresco

Zoe De Soumagnat – Al Fresco

Zoe De Soumagnat - Black Painting. tasty

Zoe De Soumagnat – Black Painting. tasty

Tomie Seo - All in a vision and Court of Regulation

Tomie Seo – All in a vision and Court of Regulation

Lian Zhang - oil on board

Lian Zhang – oil on board

From Sculpture discipline I really liked how the paper constructions of Yana Naidenov looked like concrete

Yana Naidenov - rammed paper pulp

Yana Naidenov – rammed paper pulp

The materiality of Virgile Ittah’s sculptures were also intriguing, and rather unsettling

Virgile Ittah - For man would remember each murmur - fabric, mixed wax

Virgile Ittah – For man would remember each murmur – fabric, mixed wax

The Lilliputian sculptures of Sun Lah stood out

Sun Lah - wood and pastel

Sun Lah – wood and pastel

Observing from a distance

Sun Lah

Sun Lah

Loved this little projection from Lucy Joyce

Lucy Joyce - Gold House - video

Lucy Joyce – Gold House – video

Lina Lapelyte - Candy Shop

Lina Lapelyte – Candy Shop

I liked photography student Julio Galeote’s work

Julio Galeote - excess

Julio Galeote – excess

The Charlie Dutton Photo and Print Open Salon had a really strong selection of work, it was tightly hung but as the work was all so strong it wasn’t a case of your eye skimming the wall and only taking in one or two pieces.

I was fascinated by a lot of the work showing and noticed Luci Eldridge had a couple of pieces in the show.

Luci Eldridge - The Invisible Sky

Luci Eldridge – The Invisible Sky

Hannah Williamson

Hannah Williamson

Adam Dix - Be As One - screenprint

Adam Dix – Be As One – screenprint

Frances Disley - Little Boy Lost - reduction lino cut

Frances Disley – Little Boy Lost – reduction lino cut

Alex Lawler - Celestial Navigation  - print on chiffon

Alex Lawler – Celestial Navigation – print on chiffon

Harry Meadows - Medallion

Harry Meadows – Medallion

I have often found that in the Deutsche Borse Photography Prize show there is one clear winner for me but this year all 4 candidates drew me in and inspired me.

No Man’s Land is shot entirely with Google Street View. The coordinates for prostitutes operating in remote locations were picked up from internet chat rooms.

Henner’s method of online intelligence-gathering results in an unsettling reflection on surveillance, voyeurism and the contemporary landscape.

Mishka Henner - No Man's Land

Mishka Henner – No Man’s Land

Chris Killip documents the disintegration of the industrial landscape through the people that live there.

Chris Killip- What Happened - Great Britain 1970 - 1990

Chris Killip- What Happened – Great Britain 1970 – 1990

‘War Primer 2’ reimagines the pages of Bertold Brecht’s 1955 publication ‘War Primer’. Brecht’s book was a collection of photos and newspaper clippings that were paired with a four line poem.

Broomberg and Chanarin have layered google search results for the poems over the original images. The results are extraordinary.

Adam Broomberg and Oliver Chanarin - War Primer 2

Adam Broomberg and Oliver Chanarin – War Primer 2

In 1964 Zambia started a space programme to send the first African astronaut to the moon.

Cristina De Middel - The Afronauts

Cristina De Middel – The Afronauts

Through photographs, manipulated documents, drawings and letters  De Middel presents a folkloric tale which blurs myths and truths. Great costumes and funky fabrics.

Cristina De Middel

Cristina De Middel

Jess Littlewood’s prints showing at BEARSPACE have a wonderful sci-fi quality without them being too unbelievable. There is a common motif of a pentagon, a makeshift habitat and an opening through to a stellar sky. They speak of new beginnings from dystopian endings.

Jess Littlewood - The Dissolution of Mother Island

Jess Littlewood – The Dissolution of Mother Island

Central to the exhibition, The Dissolution of Mother Island maps the inevitable collapse of the founding commune and the emergence of a new epoch, defined by five new derivative sects. Each sect inhabits a new island, and looking to the future each attempt to establish a unique society whilst never achieving true autonomy.

The further five exhibited works act as chapter headings, describing each sect and their specific obsessions. All maintain a fixation with the shrine like shelters of their past, highlighting futility in their attempts for individualism. These five new islands will now act as anthropological testing grounds in which Littlewood can explore the parameters and tendencies of human behaviour.

Littlewoods otherworldly landscapes are the product of extensive collecting, collating and archiving of images. Working digitally Littlewood builds layer upon layer of found imagery, the final outcome a window into an alternative world.

Jess Littlewood - Island Folly

Jess Littlewood – Island Folly

Wow, what a mind Charles Avery has.

Charles Avery View of the Port - from The Islanders

Charles Avery View of the Port – from The Islanders

He talks at a fast pace about the world that he describes through his expressive drawings, writing and sculptures. He has considered so much more about his imaginary world than most people ever consider about the one they actually inhabit. He has models of the island in his studio so that when drawing a new scene he is aware whether there should be a tower in the background or not. He knows where the toilets , the kitchens, the lifts are in buildings that are never more described than as background facade in a scene. This world is built on mathematical principles and animated with philosophical debate. Space is mapped out precisely in both the built environment and the geographical relationships but time in the concept as we understand it does not apply – events happen, time is not linear.

It was fascinating to hear about his process of creation at Whitechapel Gallery as part of the To Make A Tree programme.

Charles Avery

Charles Avery

The trees in jardindagade are based on a mathematical formula.  He told us how hard it was to devise a formula for a willow tree to be well balanced and the leaves not to fall and tangle with each other. He decided to go outside and see how a real tree coped with this problem and found that it didn’t, it was messy and tangled, but it didn’t fall over.

He has ambitions to build the whole of jardindagade as an immersive installation –  let’s hope someone with some money was listening.