Way Of Seeing, at Deptford Does Art -Thursday 15th August to Sunday 18th August, 2019

Saturday 17th August, 2019

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Contained Information #2, Contained Information #3 and Contained Information #6 (Display Formation)

This show ‘Way Of Seeing’ seeked to represent a varied selection of artists work. The group of artists all from different backgrounds, brought together styles and experiences around a shared ethos of collaboration, respect and sharing. All of the artists involved see the world around them differently, and this exhibition illustrated their own way of seeing.

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Contained Information #2, 2018, Glass, Natural pine constructed frame, Paulin, Tanking slurry, Plaster, Stain varnish, PVA admix adhesive, Matt paint, Enamel paint

I chose to exhibit three works from my Contained Information Series, Contained Information #2, Contained Information #3 and for the first time Contained Information #6. These works target on subjects to do with appreciation and value, and how an original undesirable object / material can become desirable and wanted. For each of these works I created experiments which enabled the chosen object / material (Pre – used building object / material) + (Art supplies), to transform their original appearance. I am interested in seeing how a material like cement or plaster could be seen as interesting, intriguing, exciting and beautiful. I want the every day person to get something from these materials opposed to just the builder who works with these materials on the job in order to complete a task.

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  Contained Information #3, 2018, Glass, Natural pine constructed frame, Plastic, Canvas, Paulin, Nylon string, Oil pastels, Charcoal, Tanking slurry, Cement, Plaster, PVA admix adhesive, Matt paint, Enamel paint

When I work with building materials like cement and plaster in the building trade they are regarded as high important quality materials, as without these materials jobs would not get completed, like building a wall, a patio, a house. However from research statistics and previous experiences the average person would not appreciate any building material / object in their most rawest of forms, as they are not the most appealing and they tend to have mucky consistencies, they normally have to be activated first and put to use before appreciation starts to become highlighted. (An example of this could be – Someone enjoying a spot of relaxation on their newly built patio, or strolling around the confinements of their beautiful constructed house.) Well I want to change this perception!

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Contained Information #6, 2019, Glass, Natural pine constructed frame, Greyboard, Cement, Plaster, Polyfilla, Varnish, Gloss, Matt paint, Enamel paint

I deliberately chose to contain each sculptural painted form in a glass frame because I wanted to enhance the thought of appreciation, value and worth of an object. The glass sheet instantly catapults the value of the used materials and supplies, as the viewer is aware of not getting to close in fear of damaging the work. The process I designed connects both the building materials and art supplies together, where they construct interesting forms which resonates excitement and beauty.

Deptford Does Art

Deptford Does Art is a gallery run by Zuzana and Dan and with their passion and enthusiasm the gallery has become a strong vocal point for the community of Deptford. The gallery is a beautiful neutral space with great lighting, and was a fantastic ideal space for the purpose of this exhibition.

More information about this brilliant gallery can be found at: http://www.deptforddoesart.com

The exhibition was organised and expertly curated by artists Hamish Macaulay and Jen Wiggle.

More information about Hamish’s work can be found at: http://www.hamishmacaulay.com

&

More information about Jen’s work can be found at: @ginmacwig (On Instagram)

(Way Of Seeing – Opening Night / Launch Night at Deptford Does Art, London – 16th August, 2019)

 

 

 

 

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7 Years Of Work Noted Over 29 Hours And 34 Minutes (Erased After 8 Hours?)

Wednesday 31st July, 2019

Installation - 7 Years - 29 Hours 34 Mins - pic 9

Initial Construction – 7 Years Of Work Noted Over 29 Hours and 34 Minutes, 2018, 79 x 113 cm,  Cotton polyester, Hard board, Linseed oil, Bitumen Emulsion, Rubber latex, Paraffin wax, Microcrystalline wax, Varnish, Gloss, Emulsion paint, Acrylic

7 Years Of Work Noted Over 29 Hours and 34 Minutes (Close up photos)

An experimental exercise which was constructed to capture an act which described the gesture of time. The title of this work provided detail to the process I devised as it was a process about time, I was not interested in creating a piece which had to look a certain way I just wanted to illustrate the stages of documentation.

The objective I set myself was all about how much detail I could imprint on the surface within an allotted time frame I set myself, where I was providing a record of what I have understood from what had happened to the surface once the work exited the process and exercise.

Original thoughts about this experiment – What was I looking for within this active process?

As well as having a deep rooted interest in capturing and illustrating time, I was also engaged with the materials I was working with. I deliberately chose and worked with materials which had no association and where each one added a foreign attachment to the process.

Questions which rose throughout this experiment was:  

  •  What material would become the strongest and last the longest?
  • Would there be a connection between the surface and materials?
  • How might I describe and illustrate space and time through sculpture and painting?
  •  Could there be an appealing textural quality to the work?

 

How would I advance with this experiment?

  •  Incorporating new passages and suggestions of time
  • Devising a system where new shifts within the surface could form new possibilites
  •  To not allow any input or activation from myself! I wanted to construct a new experiment where It was to be just down to how the work and the weather may collaborate?

The New Time Experiment

I wanted to create a new experiment which focused on the counter reaction between surface, materials, the formal structural property of the work, the weather cycle and the allocation of time.

On Thursday 25th July, 2019 it reached maximum temperatures of 39°c in London, England and 34°c where I live in Alton Hampshire. This notification about the temperature highs and ones which created a whole new record for England, gave me a perfect opportunity to formulate this new Time Experiment.

What Would Come Out On Top?

  • The heat of the SUN = melting the Bitumen changing the formal structure and positioning of the work.

 

  • The strength of the BITUMEN = Holding it’s velocity little movement or no movement at all during the experiment.

Time Operation Experiment  – (Time Settings)

Regimentation and strict followings was crucial for this devised operation, the clock is what guided me as it indicated to me when to take a photograph. Starting at 09:00am I was to take one photo of the whole piece and one close up photograph, I was to do this for every hour until I reached 17:00pm – (Paying homage to the 9 to 5 working day – 13:00pm accounted for lunch so no photograph was taken at this time.)

09:00am 24°c 

7 Years - 29 Hours 34 Mins - Time experiment - 9am - pic 17 Years - 29 Hours 34 Mins - Time experiment - 9am - pic 2

  10:00am 27°c 

7 Years - 29 Hours 34 Mins - Time experiment - 10am - pic 17 Years - 29 Hours 34 Mins - Time experiment - 10am - pic 2

11:00am 30°c

7 Years - 29 Hours 34 Mins - Time experiment - 11am - pic 17 Years - 29 Hours 34 Mins - Time experiment - 11am - pic 2

12:00pm 31°c

7 Years - 29 Hours 34 Mins - Time experiment - 12pm - pic 17 Years - 29 Hours 34 Mins - Time experiment - 12pm - pic 2

13:00pm – Lunch

14:00pm 33°c

7 Years - 29 Hours 34 Mins - Time experiment - 14pm - pic 17 Years - 29 Hours 34 Mins - Time experiment - 14pm - pic 2

15:00pm 34°c

7 Years - 29 Hours 34 Mins - Time experiment - 15pm - pic 17 Years - 29 Hours 34 Mins - Time experiment - 15pm - pic 2

16:00pm – No photograph due to an engagement which was away from the experiment

17:00pm 32°c

7 Years - 29 Hours 34 Mins - Time experiment - 17pm - pic 17 Years - 29 Hours 34 Mins - Time experiment - 17pm - pic 2

  ‘The force of time is not just a contingent characteristic of the living. It is the dynamic impetus that enables life to become, to always be in the process of becoming, something other than it was.’ ( Passage from Elizabeth Grosz)Introduction // We’re five hundred years before the man we just robbed was born – Amelia Groom – p 18

What Elizabeth Grosz has identified in time is this active force which is characterized by elements of chance and the unpredictable. This idea of a temporal becoming grasps a true undetermined aspect of time, which allows us to access change in less prescribed ways. In terms of my work and in particular this (Time Operation) the aspects of chance and the unpredictable are concrete within the process. As I never knew from one hour to the next how this work might start to transform and morph, has it changed? Or has nothing happened? This is a question I still ask myself even though the experiment has ended.

Discovering Traces

Friday 12th July, 2019

Discovering Traces

Discovering Traces, 2019, Mixed media on Woven polypropylene

This work has been made from a process which connected both layering and removing techniques and actions. My objective was to investigate into the characteristics of each technique and action I used. I illustrated my findings through the use of Red, Yellow, White and Black High Gloss paint.

Discovering Traces evolved from a Pre – Existing artwork where I was keen to highlight the narratives which were built into the surface from the objects past history. I just wanted to add new active gestures in order to exaggerate what was previously seen. 

 

Discovering Traces (Close up – photos)

To Layer means(The single thickness of some substance, as a cover or coating on a surface). Podbielski, John. (2000). Features of the dictionary, P317. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

To Remove means – (To take away or get rid of). Podbielski, John. (2000). Features of the dictionary, P468. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

When I removed existing marks and traces found on the surface by layering, I found myself in a constant battle of not really knowing what I was doing when in this act of making. I was in a consistent mode of questioning and reflecting of what was happening before me. Reflection was most important as this helped me interpret and emerge new themes and ideas. being creative was the most important thing, as without this reflection could not materialise. Relection is what helps stimulate the working process enabling new possibilities.

What I was trying to do was make new things which were increasingly more and more difficult to capture. It is always important to me to work with materials which are disimliar, where I can never have a pre – understanding / evaluation of what might materialise.

Other motifs which I wanted to capture

  • To Install a growth within the surface.
  • To illustrate a journey which tests my own visual capacity.
  • Working with advanced operations and systems.
  • Working with a process which has already been consumed, only this time distorting the act of fabricating.
  •  Displaying the act of removing as something which can produce an exciting emotion.

Discovering Traces (Close up – photos)

 

Lee Krasner Living Colour – at the Barbican Centre, London – 30th May – 1st September, 2019

Wednesday 12th June, 2019 

Krasner Intro

Introduction to Lee Krasner – Living Colour

It was many years ago when I first discovered the artist Lee Krasner, I think I was studying on my BA in Fine art possibly in my second year. At the time I was heavily influenced by the works of Abstract Expressionist artists and in particular Jackson pollock, this was when I was first introduced to Krasner’s work as she was the wife to pollock. I remember reading an article which featured Pollock’s impressive large scaled paintings, it was his no fear attitude when working with materials which always excited me, combining elements of chance with a precision thoughtfulness technique. It was this technique orchestrated by Pollock (Known as ‘Action painting’) which is still recognized around the world today.

Although I respected and still respect Pollock’s work I was more interested in researching into artists who fell short of public fame and was less noticed, Lee Krasner and her work became the ideal artist for me to start exploring.

When I first heard about this exhibition arriving to London I knew I had to go and relive the excitement I first experienced all those years ago. Although this time I will see Krasner’s impressive masterpieces up front and in the flesh.

   Embrace, 1956, Oil on Canvas

The exhibition was curated on two floors and you were firstly directed to the first floor which is where the exhibition began. The whole exhibition was incredible as it gave me a chance to fully understand the diversity of Krasner’s practice, however there were a few series of works which impacted on me more greatly. The first series works which I have termed the ‘Prophecy Series’ caught my attention, it was the technique Krasner used when working with the paint on the canvas, big dominating loops, fleshy like forms, lined with black with accents of pink made me think of a dislocated distorted human body. The works had beautiful aspects of colour with an added grotesque like form, these works instantly made me think of one of my other favourite artists Francis Bacon. This series began with the piece titled Prophecy before three other works: Birth, Embrace and Three in Two, all works were created during a time when Krasner was under considerable strain due to her relationship collapse with Jackson Pollock. The works are very dark and give a true insight into the struggles Krasner must have been facing. Krasner was once asked about her determination and focus to paint, Krasner responded by saying ‘Painting is not separate from life. It is one. It is like asking – do I want to live? My answer is yes – and I paint.’ 

   Blue Level, 1955, Oil, Paper and Burlap collage on Canvas

The next work which caught my eye was Blue Level a work which Krasner produced out of spontaneity, a development which evolved from a despondent feeling. One day Krasner walked into her studio and tore all her drawings up it was this act of aggression which led to something exciting. The cut strewn shreds became the beginning of a series of collages, a mixed media enforced technique which resulted in works depicting the organic which was made from a subconscious action achieved from the artist herself. It is brilliant to know that Krasner firstly never knew she had created something which was greatly appreciated. These works hold a subtle sense of disorder incorporated within a well performed process.

   Stop and Go, 1949 – 50, Oil and Enamel on panel 

Stop and Go emerged from a series known as ‘Little Images’ which was produced in a make shift studio where Krasner had transformed her upstairs bedroom into a work space. Krasner was constructing vibrant abstractions which looked at introducing rhythm to the composition. Paint was layered with a palette knife and worked into with a stiff paintbrush. Stop and Go made me think of my works in particular my Contained Information works because I work with a similar process, uniting opposing colours together in order to achieve the best possible visual abstracted look. Although the paint I apply looks non – uniformed there has been a calculated action which derives from a Systematic Operation.

Franz West Indoor Sculptures – at the Omer Tiroche Gallery – 1st March – 7th June, 2019

Friday 7th June, 2019

Franz west - Omer Tiroche 1

Poster Design (Meeting Points – Royal Botanical Garden 1, Skulptur), 2002 – 2005, Acrylic, Glossaire paint, Digital print on foamcore 

The first time I saw Franz West’s work in the flesh was in June 2018 at the Gagosian Gallery , Davies Street, London. The exhibition presented three large Papier-mache sculptures paying respect to his Sisyphos sculptural series.

What attracted me to West’s work and in particular his work on show here at the Omer Tiroche Gallery, was his approach to manipulate materials and imagery in order to examine art’s relation to life and collective experiences. With much diversity in his practice producing collages and interactive sculptures to tables, seating and abstracted forms, his work provided a focus on the tensions and integration between the public audience all which considers the controlled behaviors and impulsive actions of the body, demanding the viewers intervention rather than their observation.

Franz west - Omer Tiroche 5

Untitled, 2007, Acrylic, Epoxy resin, Papier-mache, Wood and Plastic bucket

In my work I always try to conduct an activity which can offer the audience an opportunity to experience the intensive exercise I exert when working into the surface. I always want the audience to relive this where they start to inherit the same journey I took when constructing each piece. Another interesting aspect I always try to connect with my work – large or small, is this composed configuration between formal architectural qualities and Anti – formal uncertainties which develop from a spontaneous Systematic Operation.

    Image 1 – Primary Scientific Time Data (PSTD #2), 2018, 199 x 257 cm, Paulin, Dirt, Sand, Cement, Tanking slurry, PVA admix adhesive, Concentrated sugar soap, Varnish, Gloss, Emulsion paint, Matt paint, Gloss paint

Image 2 – Primary Scientific Time Data (PSTD #1) & Primary Scientific Time Data (PSTD #3) – Fine Art MA Degree Show at the University Creative Arts, Farnham, Surrey

Image 3Contained Information #2, 2018, 20 x 20 x 2 cm, Glass, Natural pine constructed frame, Paulin, Tanking slurry, Plaster, Stain varnish, PVA admix adhesive, Matt paint, Enamel paint   

Image 1 – Untitled, 2007, Acrylic, Epoxy resin, Papier-mache, Wood and Plastic bucket (Close up)

Image 2 – Untitled, 2010, Papier-mache, Acrylic, Lacquer, Gauze and Steel on Artist’s metal table

The importance of colour, form and function is visually evident in West’s work, but what I also find intriguing was his subtle use of language which provides a range of interesting contexts. One other feature I really like in West’s work is this incorporation of Punk aesthetics, where he playfully transformed mundane found objects into sculptures, where the familiar starts to become unfamiliar.

Microcrystalline Trace

   Microcrystalline Trace, 2011, Canvas, Microcrystalline wax, Acrylic 

My work carries similar connotations to West’s work where a no care attitude to selected materials can be witnessed, a no fear attitude to breaking the rules, and instead dancing with chance and risk is the goal. I believe West and I share unique Punk aesthetics which are complex, a look which is designed to disrupt and cause a stir and spark conversation in order to gain immediate attention.

‘From ArtCan With Love’ – ArtCan Postcard Exhibition, at The Fitzrovia Gallery – Wednesday 5th June, 2019

Thursday 6th June, 2019 

Operating and Organising Colour

Operating & Organising Colour, 2019, 10 x 15 cm, Cotton canvas, Cement, Plaster, Paraffin wax, Microcrystalline wax, Interior varnish, Industrial gloss, Ink, Enamel paint 

‘From ArtCan With Love’ was a fundraising exhibition formulated by the excellent arts organisation ArtCan – http://www.artcan.org.uk

It was a one night only exhibition of new works by ArtCan artists and Trustees. All works in the exhibition were postcard – sized and created specifically for this show. All works were priced at a very affordable £40, and buyers were able to take the works away once purchased.

I was extremely pleased to see that my piece was sold!

Fitzrovia 2

I was really looking forward to this exhibition because it was to be my first exhibition with ArtCan, and I was also displaying a piece which displayed new processes, techniques and methods all which focused on the importance of the grid.

I believe this grid format helped me to control me energy consumption, and as a result each squared area on the surface stored information as beautiful forms. I chose to use the grid as a predetermined ordering structure which I decided to follow and disrupt.

 I worked with the limitless potential which the grid suggested, this included inspiring meditations on colour, spirituality, form, and the act of art – making itself. I also found that using the grid provided me with a tremendous opportunity to explore colour relations and move colour around once colour was applied, the grid became a tool to fix and freeze all motion of colour.

  (‘From ArtCan With Love’ – Opening night at The Fitzrovia Gallery, London – 5th June, 2019) 

 

Contained Information #6

Friday 24th May, 2019

Contained Information #6

Contained Information #6, 2019, Glass, Natural pine constructed frame, Greyboard, Cement, Plaster, Polyfilla, Varnish, Gloss, Matt paint, Enamel paint

One aspect I want to include within my ‘Contained Information Series’ works is how to become more precise, and rigorous when documenting the transformed surface. I have deliberately designed a system which exaggerates my skills of perfection. This can be seen in the works due to myself capturing and then imprinting every shift and crease which has formed on the surface. I find myself scrutinizing the surface trying to make sense of what has happened once it has been taken out of the formulated system which is known as the ‘Unknown working process’. I find myself acting like a scientist where I conduct this experimental exercise, this is linked to applied scientific methods and techniques which leads to an intense investigation.

Contained Information #6 (Close up – photos)

Exaggerate can also mean – (Regard or represent as greater than is true), ( To make greater or more noticeable). Podbielski, John. (2000). Features of the dictionary, P193. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Forensic can also mean – (Used in or connected with courts of law). Podbielski, John. (2000). Features of the dictionary, P221. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Science can also mean – (A systematic study with links to skill, technique and knowledge). Podbielski, John. (2000). Features of the dictionary, P493. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

An Exaggerated Forensic Approach

The adjective forensic describes scientific methods used to investigate crimes. Although I am not trying to solve a crime, my approach to documenting involves similar characteristics which are used in forensic science, as I work with methods and techniques which helps to clarify a set of results.

I work with an invented collective examination or analysis of physical evidence, which helps to bring findings and results from a discovery.

When you describe something as ‘Forensic’ it usually means it has to do with finding evidence in order to solve a problem. A Forensic Scientist specializes in either crime scene investigations or laboratory analysis, where they record observations, take photos and collect evidence. When I think of the process I work with it certainly connects as I firstly create a process which is termed an ‘Unknown working process’ this is when I take advantage of materials and surfaces, deliberately setting up a system which acts like an arena where all the materials and surfaces collide and fight with one another. – (I could be seen as consciously provoking a battle – which could lead to devastation – Resulting in a crime). Once the Re – formed surface is taking out of the arena I start to investigate it’s new identity. (This is achieved by investigating, documenting and recording this new change, evidence is detected through the application of brightly coloured paints which marks the objects new existence).

Contained Information #6 - pic 5

Contained Information #6 (Close up – photo)

 

Contained Information #5

Wednesday 01st May, 2019

Contained Information #5

Contained Information #5, 2019, Glass, Natural pine constructed frame, Wood pulp virgin fibre sack paper, Nylon string, Tanking slurry, Cement, Plaster, Varnish, Gloss, Matt paint, Enamel paint

This piece interlinks two subjects the first is the ‘Significant Form’ and the second is beauty. I wanted to display a correlation between both subject matters where they express their individual strengths. By connecting more than one subject or idea, the work starts to open up a conversation.

The surface becomes inspired by this act of processing – Proposing the question:

‘How has this surface come about and what is it trying to say?’ 

Contained Information #5 (Close up – photos)

Significant can also mean – (Important), (Expressing a meaning). Podbielski, John. (2000). Features of the dictionary, P512. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Form can also mean – (Shape or apperance), (The mode in which something appears). Podbielski, John. (2000). Features of the dictionary, P222. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

So when you attach both meanings together it represents something known as the ‘Significant Form’.

The ‘Significant Form’

In the words of art writer Clive Bell (1881 -1964) The ‘Significant Form’ is a particular combination of lines and colours that stir our aesthetic emotions.

One reason why I was so keen to link the meaning of the ‘Significant Form’ to my making is because I see a comparison in the works I create. I see my works as expressions which have arrived from eclectic manifested processes, techniques, subjects and ideas. Instead of a deep rooted exact meaning the works are more about, the lines and colours drawing the viewer to the work creating an emotional sensory experience.

I also see my works as beautiful objective forms where the design impacts upon the importance of how the surface evolves. Responding to the objects design seems to satisfiy the viewers emotional imagination, meaning that any proposed theory becomes not so important.

Contained Information #5 (Close up – photos)

Beauty can also mean – (A combination of all the qualities of a thing that delights the senses and the mind). Podbielski, John. (2000). Features of the dictionary, P47. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain 

The Beauty Seen In My Work

Everyone likes beauty and constantly searches for it within a piece of artwork. I try to give the viewer an experience of pure visual pleasure by formulating and organising colour in a very particular way, where I connect opposing colours which enables and provides the surface with a powerful visual quality.

Other Motifs of Beauty which are connected to my work Includes

  • Tying in an awkwardness and oddness of beauty – when something starts a transition of becoming something else.
  •  Expressing not the most conventional form of beauty and instead evoking suggestions of weird beauty, tragic beauty, pop beauty –  A link to the virus of beauty.
  • Beauty within the surprise of colour – Instead of combining associated colours I deliberately work with the harmony of linking opposing colours in order to gain the most beautiful visual impact to the design.
  •  Distorted Beauty – Radicalizing the beauty where a material and element becomes something new. A Re – Invention of a familiar material.
  • Beauty is less considered in art  – But I am trying to convert this thought by bringing value back to the term ‘Beauty’ – The colours used in my works are strong but have been subtlety orchestrated.  I want the colours in my work to have that ‘POP’ like feeling, where the work stands up and knocks the viewer out.

Beauty is in the eye of the Beholder

 

FLUX Exhibition – At The National Army Museum, Chelsea, London. Thursday 14th March – Sunday 17th March 2019

Monday 18th March, 2019 

FLUX Exhibition - March 2019 - pic 1.jpg

                               Installation photo of my works on show at FLUX Exhibition                                 (Private View opening – (Thursday 14th March, 2019)  

FLUX Exhibition displayed four of my Contained works (From the Contained series) for the first time. I was really excited to see them presented together as I had not yet seen this. What was most intriguing about this exhibition was the not knowing of how my works were to be presented.

I delivered the works to the museum on Tuesday 12th March, 2019, and would then not see them until the exhibition opened on Thursday 14th March 2019.  Founder of FLUX Lisa Gray and her curatorial team decided on the positioning of every work which featured in the show. I have mentioned before in previous posts about the necessity to include factors of chance, risk taking and the not knowing in the making of my works, so finding myself on a daily basis consumed by never ending possibilities made this requirement easy to accept.

Other subjects which coincide with my practice are Form and Order and the Anti-Form and Chaos. In the process of my making I design systems and operations which are linked to game playing . I work and live within the moment and relish the discovery of surprise, so I was wondering what avenue Lisa and her team, would take when displaying my work. Would it be presented in a straight uniformed layout, representing Form and Order in numerical chronological order for example – Contained Information #1, #2 and #3 or would the work be seen as more disorganized where each piece is scattered across the wall describing the Anti – Form and elements of Chaos, with no numerical sequence for example – Contained Information #1, #3 and #2 .

The Chosen Presentation Went:

Contained Information #3 – Contained Information #1 – Contained Information #2

FLUX Exhibition - March 2019 - pic 4.JPG

Contained Information #3, 2018, Glass, Natural pine constructed frame, Plastic, Canvas, Paulin, Nylon string, Oil pastels, Charcoal, Tanking slurry, Cement, Plaster, PVA admix adhesive, Matt paint, Enamel paint

FLUX Exhibition - March 2019 - pic 3.JPG

Contained Information #1, 2018, Glass, Natural pine constructed frame, Canvas, Oil paint, Cement, PVA admix adhesive, Matt paint, Enamel paint

FLUX Exhibition - March 2019 - pic 2.JPG

Contained Information #2, 2018, Glass, Natural pine constructed frame, Paulin, Tanking slurry, Plaster, Stain varnish, PVA admix adhesive, Matt paint, Enamel paint

FLUX Exhibition (Mini Masterpiece Wall)

FLUX Exhibition - March 2019 - pic 5.JPG

Contained Information #4, 2019, Glass, Natural pine constructed frame, Canvas, Acrylic, Dirt, Cement, Plaster, Cuprinol, Varnish, Gloss, Matt paint, Enamel paint                         (Presented on the Mini Masterpiece Wall)

Although the Mini Masterpieces were exhibited in the National Army Museum in conjunction with FLUX Exhibition, it felt like the wall was separate and away from the exhibition, almost as if the wall was hosting its own show. The aim was to feature unique smaller artworks which could be purchased at a cheaper cost, opposed to the artworks which were featured in the main exhibition.

All artists were given the opportunity to display a work and participate in the Mini Masterpiece Wall, it was an offer I accepted straight away as not only did it give me another option of presenting an extra artwork, it gave me a further chance to experiment with this continuous series.

FLUX EXHIBITION

(Private View Opening – Thursday 14th March 2019)

Contained Information #4

Friday 08th March, 2019

Contained Information #4

Contained Information #4, 2019, Glass, Natural pine constructed frame, Canvas, Acrylic, Dirt, Cement, Plaster, Cuprinol, Varnish, Gloss, Matt paint, Enamel paint

In my practice I like to challenge myself when making my works, whether this is collaborating with dissimilar materials or provoking an impact between space and colour. One area I had not explored was a drastic change in scale.  

Scale can also mean – (A reference in making measurements), (Ratio of size between a thing and a representation of it). – Podbielski, John. (2000). Features of the dictionary, P491. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

Contained Information #4 is the first Contained piece which represents the smallest sized work within this series. I wanted to reduce the scale because I was interested in testing my working methods, techniques and processes.

  •  Questions I asked myself which I wanted to explore were: –

Do objects which are smaller in size warrant more protection and care?

Do smaller scaled objects gain more appreciation? 

Would the audience, viewer, buyer, owner, prefer the craftsmanship in a work which has been constructed on a smaller scale, opposed to a work which is larger in scale? 

 

 

Contained Information #4 (Close up – photos)