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)

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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)

 

 

 

Remnants from Ewhurst, Surrey

Friday 01st March, 2019

Thursday 28th February, 2019 marked the opening of my solo show – Remnants from Ewhurst, Surrey.

The show will be open:

Monday – Friday – 9am – 10pm

Saturday and Sunday – 10am – 6pm 

The last day of the show is on Tuesday 19th March, 2019

 

Photos which show the Private View evening at The Old Diorama Arts Centre Gallery (Thursday 28th February, 2019)

On the 7th January, 2019 I started a two month artist in residency at The Old Diorama Arts Centre, which led to a solo show featuring all works which I constructed within the time I was there. It was the most fantastic experience where I learnt a lot about myself as an artist, as I was confronted with new challenges leading to unexpected evolutions within my work.

This post will provide information of the research and writings I was looking at, which advanced to new concepts, techniques and process which I infused within my work.  

Old Diorama - Solo show - Pic 3

Remnant #1, (From the Remnants from Ewhurst series) – 2019 – 36 x 36 x 53.3 cm – Treated sawn wood constructed frame, Low density polyethylene plastic, Cement, Dirt, Brown paper, Varnish, Clear gloss, Acrylic paint

Why Remnants? Where did this word / idea come from, and how would this link in with this series of works?

Remnant – (Small piece), (Left over) (A surviving trace). – Podbielski, John. (2000). Features of the dictionary, P468. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

On Wednesday 12th September, 2018 I started a building job consisting of laying two large foundation bases. I was supporting my Dad on a job in Ewhurst, Surrey. It was a mammoth job which would span over a time period of four weeks. I don’t know how many bags of cement, sharp sand, building sand, ballast we must of gone through and I would not want to put a number to it, but what caught my attention was the amount of excess packaging left on site. I said to my Dad, “What do you plan on doing with the packaging”, his reply was “I guess we will have to skip it”. This instantly struck a chord with me I thought this can not happen, firstly I was thinking where on earth will it all go, Landfill? and secondly I was thinking how can I infuse this into my art practice, how can I keep the packaging and how can I give it a purpose, and a value which it once had. Surely it is not all about the contents inside, sure the cement is important but what about the packaging, it went through a meticulous process in order to arrive as we know it. I was interested in refiguring the products look, how can I make this product exciting and appealing but through a new context. How could this become an interesting and thought provoking work of art?

Initial Themes I started to look at

  • Recycling
  • Materialization, Transforming, Converting
  • Process & Technique
  • Preserving
  • Making something out of nothing
  • Re – Introducing
  • The past – The present – The future
  • Time lapses & Time restraints
  • Transforming for the better not the worse
  • A contrasting effect between decay and beauty
  • Non – Importance becoming Important
  •  Deconstructing – Constructing
  • Sub – conscious thinking
  • The familiar becoming the Unfamiliar
  • Order vs Chaos
  • Colour impact
  • Form vs Anti – Form

 

LeftRemnant #2, (From the Remnants from Ewhurst series) – 2019 – 33 x 26.5 cm – Natural pine constructed frame, Low density polyethylene plastic, Sharp sand, Dirt, Varnish, Clear gloss, Acrylic paint

Right – Remnant #3, (From the Remnants from Ewhurst series) – 2019 – 28 x 35.7 cm – Natural pine constructed frame, Low density polyethylene plastic, Shingle sand, Dirt, Varnish, Clear gloss, Acrylic paint

Bottom – Remnant #4, (From the Remnants from Ewhurst series) – 2019 – 32.5 x 31.5 cm – Natural pine constructed frame, Low density polyethylene plastic, White parish building sand, Dirt, Varnish, Clear gloss, Acrylic paint

Themes I took a real focus on for this series of works

Form vs The Anti – Form

We often carry around with us a mental rectangle where we can drop it around whatever we are doing. It is this which makes us feel at home, at ease and with a sense of control. 

Form

  • Arrangement = A wholeness which = A total configuration (A process of evolution)

 

Anti – Form

  • How to get rid of the rectangle = How to live by chaos – A feeling of recklessness = Living by chance (Living for the moment)

 

A good reason why we are all squares (Forms) is because we find it easier to read subjects through squares. For example: A rectangular magazine – A publication – A photograph.  Reading in this way seems to make sense to us, as our movements become more familiar because we live in a world dominated by the straight edge.

I like to play with the idea of combing the straight edge with the crooked edge.

I have had enough of the politeness in things! What excites me is seeing the chaos evolve from underneath, where it takes you out of a controlled state and puts you in a situation of the unexpected!  

It is the Anti – Form which abstracts the meaning of form.

I set myself an objective to work with an object which was originally whole and formal. This object then collapses and breaks down, where the straight edge starts to disappear. I then wanted to make this object full and perfect again, but built through operations and new systems.

I wanted to work with materials and surfaces which had differences, whether they were fragile, soft, robust or hard. All installed within irregular properties. I wanted to investigate this meaning of irregularity, by understanding the constructed patterns which proposed a sense of knowing.

  • I amplified the many possibilities which were made.
  • But could the Anti – Form actually mean Anti geometry?

Other Conclusions made between The Form vs The Anti Form  

  • The stable vs the Unstable
  • The open vs The Closed
  • The Regular vs The organic
  • The Real vs The ideal

 

 

Left – Remnant #5, (From the Remnants from Ewhurst series) – 2019 – 64 x 64 x 88 cm – Treated sawn wood constructed frame, Low density polyethylene plastic, Cement, Sharp sand, Dirt, Varnish, Clear gloss, Acrylic paint

Right – Remnant #7, (From the Remnants from Ewhurst series) – 2019 – 43.5 x 62.1 cm – Natural pine constructed frame, Low density polyethylene plastic, Cement, Shingle sand, Dirt, Brown paper, Varnish, Clear gloss, Acrylic paint

Principles of Colour

Focusing on the contrasting values in colour allows us to enhance our visual capacity of looking!

Contrasting Colours

  • Draws our attention to a particular object.

Remnants #2, #3, #4, #6 and #7 illustrates maximum hue contrast in the colours value. The works draws instant attention because the surface has a contrasting value which is more settled.

However Hue contrasts in colour can be easily overused which can create visual clutter. I deliberately used this in Remnants #1, #5 and #8, I wanted to visually describe the chaotic approach used within my practice, and in particular this series of works.

In the show the works have real dynamism because they are not settled, the surface is not settled, meaning the media is not settled, meaning the space becomes unsettled.

Colour Design

I worked with three dimensions of colour:

  • Hue – The colours name – For example: Red, Yellow, Blue
  • Value – The lightness or darkness in the colour
  • Chroma – Describes the colourfulness how vivid it is.

I wanted to created maximum colour impact so I deliberately worked with the paint straight from the tube, in order to get the colours true pigment and correct chroma.

 

Left – Remnant #6, (From the Remnants from Ewhurst series) – 2019 – 43.4 x 61 cm – Natural pine constructed frame, Low density polyethylene plastic, Shingle sand, White parish building sand, Dirt, Varnish, Clear gloss, Acrylic paint

Right – Remnant #8, (From the Remnants from Ewhurst series) – 2019 – 43.5 x 62.1 cm – Treated sawn wood constructed frame, Low density polyethylene plastic, Cement, Shingle sand, White parish building sand, Dirt, Varnish, Clear gloss, Acrylic paint

 

Space

I was keen to transform the architectural shape of the gallery. I wanted to create a spatial environment. 

  • Spatial meaning – A relation to the space we are in, and a relation to the positioning of objects in space.
  • Spatial Area – Relating to the occupying of space – Testing the capacity of space.
  • Spatial Form – The physicality of an object or the materials situated in a given space.
  • Spatial Relationship –  How an object is located in space.

I wanted to insert all spatial areas within the show. To do this I purposely worked with formal formats and Anti – Form formats. What I mean by this is:

  1. Positioning my work in a traditional uniformed space                             VS
  2. Positioning my work in challenging, transformative suggestion of space, where human relations could become complicated, meaning viewers start to question their exact relation to the space they are in.