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.

 

 

 

 

 

 

 

 

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Talking Point – ‘A WatWei Show’

Tuesday 12th February, 2019

A fascinating experience into the digitalised world of art

Talking Point Show - pic 2

Venue for the showLethaby Gallery, 1 Granary Square, Kings Cross, London N1C 4AA

Curators of the show – Rory Watson & Tyler Prior

 

Is the Digital impacting on the Artworld?

Watson and Prior also known as WatWei – Their objective was to kick start a conversation about how art is seen today.

My phone and The Talking Point WatWei programme – were the only tools used to navigate myself around the gallery

Throughout the show many questions were raised which sparked an interesting debate about the curatorial purposes, and what is now meant by the meaning of art. Below lists some of these fascinating thoughts:

  • Is the work on show still my work / the artists work / or does the work now belong to someone else?

 

  • Does the gallery loose part of its meaning?

 

  • An amazing experience – Being able to show your work in a gallery without the hassle of any installment.

 

  • A strong trust between artist and curator emerges, as the artist gives 100% control to the curator, as they decided how the work was to be seen.

Talking Point Show - pic 11.JPG
What was most unusual was seeing many people walking around a gallery with their phone right up to their faces. A scene you would expect to see in a busy town or city , but in a gallery?

  • I always felt viewing art in a gallery gave you the chance to have a personal moment. Where you could have that real time of corresponding with the works. This show changed it for me as I was experiencing the show with 20 to 30 other people, all close together hovering over each others phone trying to make sense of what was on the screen.

The strongest question I kept asking myself was – What really is a gallery? – Could it be the same as – what is an artists studio? 

  • An artists studio does not have to be an elaborate huge space, instead it could be a dinning room, a bedroom, a garden. As long as that space gives you access and allows you to get the job done, it is deemed the perfect space.

Could this be the same for the gallery?

  • I believe that in time there will be more and more art shows taking place in houses, shops, carparks, public transport and phones, opposed to well lit clean and tidy white cubed spaces.

Art just needs an audience and space!  

So why did I apply for this show?

I was keen to challenge myself and my work. I wanted to come away from the usual clean white cubed space where my work is often displayed.  My works are sculptural paintings where the 3 Dimensional is crucial, it is important that this is seen because it enables the audience to see the materialization between artist and material and technique and process.

I wanted to see if the phone / the digital could capture the essence of my making and do justice for my work. There were no guidelines about the show or what to expect, this did not make me nervous instead it filled me with excitement. I have always played with aspects of chance and the unknown so I was looking forward to seeing what the show had in store for me.

Talking Point Show - pic 7.JPG

Remnant #3 (From the Remnants of Ewhurst series) displayed in the exhibition.

What were my final thoughts on the show, and did I feel my work fitted in with the context of the show?

The idea of viewing art on your phone is great! More and more often apps like Instagram allow you to view artworks which you might never get to see in person. It also gives the artist a chance for their work to be seen by a large audience.

It was a brilliant experience and one I would do again but probably not displaying my own works. I realised that my work needs to be seen in person in the flesh, where the audience can really get inside the work, getting to see the process, and the obsessive nature of documentation which is imprinted into the surface.

Art professor Cynthia Freeland wrote an intriguing piece of text on Digitizing and Disseminating art

Freeland, Cynthia. (2001). A Democracy of images, P177 – 178. But is it art?. Publishers: Oxford University Press. Printed in New York

Everyone knows what the Mona Lisa and Michelangelo’s David look like – or do we? Artworks become reproduced so often we may feel we know them even if we have never been to Paris or Florence.

Art reproductions are ubiquitous!

We can now sit in our pyjamas while enjoying virtual tours of galleries and museums. around the world.

It is not just visual art that has been made more widely accessible by new technologies of reproduction. Operas, plays, and ballet performances are regularly broadcast on TV, leaving the concert symphony halls vacant.

Human experiences of art have been significantly changed in this postmodern age of the internet, videos, CDs, advertising, postcards, and posters. But for good or ill?

 

 

Contained Information #3

Friday 07th December, 2018

Contained Information #3

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

An occurring thought which kept coming up during the making of these contained works was, when can or does something become valued, and appreciated . 

Value can also mean – (Importance and Usefulness), (Worth and Satisfaction). – Podbielski, John. (2000). Features of the dictionary, P602 – 603. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

 Appreciation can also mean – (Valued Highly), (Regarded as high notice). – Podbielski, John. (2000). Features of the dictionary, P24 – 25. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain 

Why have I chosen to attach these words with this series of works?

  1. In my works I work with both building materials and art supplies which carry their own importance. For example:
  •  When working with building materials like cement and plaster in the building trade they are regarded as high important quality materials. Without the appliance of these materials jobs would not be fulfilled. Building a wall, patio or house would not be possible, they act as the foundation the support. Maybe without consciously thinking, we are constantly engrossed by these amazing materials. I believe that they deserve to be recognized and given a platform where they can be celebrated and appreciated.

 

  • I feel that if I was to contain just the cement or plaster in its rawest form it still would not get appreciated. So this is when art supplies become important in my work, I introduce materials like Canvas, Charcoal, Oil pastels, Acrylic and Enamel gloss paint in order to help raise the profile of the building materials. From first hand evidence the audience would firstly recognize the bright impact from the paint, but then on close inspection Cement, Plaster, Building sand then becomes visually engaging and intriguing.

A journey which presents materials of a robust and masculine nature, conversing with materials which inherit fragile and beautiful features. 

 

  • I deliberately chose to encase these works within glass frames because I wanted to showcase and enhance this idea of worth. The minute I started to contain these works in the glass frames they immediately took on value, and were noticed straight away. What made me laugh was thinking of the building materials in their past life (on the building site), where they are treated with no care, just used in order to get the job done. In my work I caress both the building materials and art supplies together, I take time to observe the beauty.

I enjoy making the familiar become the unfamiliar

 

Contained Information #3 (Close up – photos)

Contained Information #2

Thursday 01st November, 2018

 

Contained Information #2 - pic 1

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

During the making of this work I was focused on the theme of processing. What it means to process, and what happens to the subject when it is put through a rigours formula.

Process can also mean – (A  series of actions or changes), (A method of doing  for producing something) (To handle or prepare something by using special methods in order to manufacture). – Podbielski, John. (2000). Features of the dictionary, P437. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain

What does process mean in art terms? 

Process art

  • The term process art refers to where the process of its making art is not hidden but remains a prominent aspect of the completed work, so that a part or even the whole of its subject is the making of the work.

 

  • Process became a widespread preoccupation of artists in the late 1960s and the 1970s, but like so much else can be tracked back to the abstract expressionist paintings of Jackson Pollock. In these the successive layers of dripped and poured paint can be identified and the actions of the artist in making the work can be to some extent reconstructed.

 

  • In process art too there is an emphasis on the results on particular materials of carrying out the process determined by the artist.

https://www.tate.org.uk/art/art-terms/p/process-art

 

By researching into the term process from the dictionary and from an established art site, I wanted to find out, firstly whether or not the two given descriptions hold any similarity, and then secondly whether or not my work shows any connection to the two descriptions, giving my work the right to be deemed process art.

  •  For me both the dictionary and art site descriptions hold a connection and a similarity. Both describe about a progression within the material or materials used, and this action used to construct and make. The inventor/ constructor or in my case the artist has the job to select and compose, carried out by creating methods and disciplines. This then enables the subject to evolve and change from its original state.

This made me think about the instructions I compose in my work.

What do I actually do in order to create and produce, and what relationship do I hold with the materials I use.

My work explores the relationship between artist and material where I transform readymade, pre used objects into new painted sculptural artworks. I convert found objects by using a process of unravelling, where new beginnings are created from art and building materials. 

The term I use is not just process but something called an ‘Unknown Process’, this is because my labour and work deals with unpredictable and chance happenings, by combining art making with construction work.

Functioning in this format instills an approach to making, which is playful and exciting, as I constantly wrestle with materials and elements. Pushing and pulling techniques are used in order to create a tactile bond between me and the work.

Systems and operations are put into place to give guidance to my making. Information is imprinted to the reformed surface of materials by devised algorithms, and understanding and knowledge is established to what has occurred.

 

Contained Information #2 (Close up – photos)

 

 

 

 

 

 

 

 

 

 

 

 

Contained Information #1

Friday 5th October, 2018

Contained Information #1 - pic 2

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

This work is the first from a series which highlights upon the themes of collaborating, processing and value.  

What does collaborate actually mean? Work with another on a project or to cooperate with an enemy invader.  – Podbielski, John. (2000). Features of the dictionary, P106. Collins Pocket English Dictionary. Publishers: HarperCollins. Printed in Great Britain 

What does collaborate mean in terms of art?  Collaboration is another word for teamwork. It is an art of merging two or more creative minds together. Collaboration is more than getting together to fuse your creative energy into a large piece of work, it is more about getting it right, whether this is the scale, colour or active description of the work. – http://artbistro.monster.com/benefits/articles/12120-the-art-of-good-collaboration

So how does collaborating or collaboration feature in this body of work?

  • First and full most all of my artworks are primary, they have solely been made by me and just me. This is very important because I want to be able to say ‘I made that, all me, without any help.’ All energies consumed within the surface are pure as they come from just one source, where no other connective interaction is made, where no possible disputes are made from other sectors.

So if I don’t team up with other artists during the creations of my work, how is collaboration infused? 

  •  Teamwork in this project is made up of the surface, materials, supplies and elements interacting together. It is this which formulates the idea of collaboration, informing the idea of collaboration through a new guise. For me this example of collaborating is spontaneous, where instructions are loose and ideas constantly shift and evolve through different avenues.

 

  • I am aiming to construct a whole new meaning to the word collaborate, or another way of displaying collaboration through a visual interpretation.

 

  • Art supplies and Building materials are purposely put together. Constantly setting up my own collaborative experiment, where nothing is concrete until the process has been followed through to its logical conclusion. It is not until then when I know if the two have built a relationship of harmony or a relationship of disgust. Either way I store it, frame it and then contain it.

 

  • Normally I see collaboration as a means of connecting and gaining some kind of support, in order to get the job done. However in my work I am imposing the opposite, where I only give myself the right to perform and where a connection of all involved could become a temporary approach to collaborating . I see it as a game of intriguing value, firstly for me as the artist and then the audience.

 

Is it right for me to put art supplies and building materials together? 

 

It is this question which keeps me inspired to produce and create.

It is this question which ignites passion and installs in me a means to carry on and find out.

 

 

Contained Information #1  (Close up – photos)

 

MA Degree Show – 2018

Sunday 02nd September, 2018

Saturday 01st September, 2018 marked the end of what has been a most enjoyable and fantastic 2 years!

 

                      Photos which show the Private View evening at Farnham UCA                      (Thursday 30th August, 2018)

A CONNECTED ACTIVITY BETWEEN A HABITUAL ENVIRONMENT AND A PARTICIPATORY EVENT

An interesting aspect I connected to this event, was the composed configuration between the formal architectural structures (The building / space / area), colliding with the anti – formal (The 3 works on show), propelling against active participation (The audience).

It was this suggestion of viewer participation which intrigued me most. I was interested to find out what role the viewer had when it came to engaging with my works.

  • The most important themes I try to ingrain into the curating of my works are Experience, Meaning, Origin and Ephemeral nature. If the viewer goes away from my works and can still remember a key component the following day, week, month or year, than I can feel happy and positive that all has been achieved and complemented one another.

 

  • During the Degree show I kept on thinking how much the viewer became an integral part of the work. From the moment of experiencing the work for the first time, too informing an understanding of how best to navigate around space.

 

  • I definitely felt that the viewer became an active part of the art. By creating an environment which carried installation qualities, it allowed and invited the audience into the work where they could then start to process then own energy. This was achieved deliberately where movement had to materialize, but also this hidden energy where a very personal moment is calculated between viewer and work – ( Where a theoretical understanding starts to evolve).

Primary Scientific Time Data (PSTD) #3

Saturday 18th August, 2018

A systematic operation focused on the evolvement of form, space and environment

Primary Scientific Time Data (PSTD) #3
2018

Cotton polyester, Cotton mesh, Polyurethane silicone, Linseed oil, Tanking slurry, Plaster, Mortar plasticiser, Concentrated sugar soap, Beeswax, PVA admix adhesive, Varnish, Gloss, Emulsion paint, Matt paint, Acrylic, Gloss paint

A brief overview into connected themes and the structural concepts for this work

Experimentation – stood for the stage of processing when performing a scientific procedure, similar to a scientist in a laboratory, when trying to determine something. In relation to Primary Scientific Time Data #1, #2 and #3 the processes and techniques infused are very similar, as the construction of the works took place in the studio, and in outside environments. These places acted like a laboratory where much risk taking took place. Although the techniques and methods I used are familiar, new materials elements and surfaces were introduced, meaning different possibilities were informed. The mixing, dunking and pouring techniques and processes were the main event in this work, as it was less about the finished article and more to do with the progressive nature of how the work evolved.

Time spontaneity –  represented a spontaneous process in a system of time-evolution, an act of releasing free energy which moved to a lower, more thermodynamically stable energy state. I was interested in constructing cases  which included  isolated systems, where no energy is exchanged with the surroundings, as spontaneous processes are characterized by an increase in entropy. All previous works in this operation have been built around a structural regiment system. This work strips away at the conformed and becomes less obedient. Although a time record sheet was introduced, it did not figure as a critical component in the exercise, as it just acted as a record of interest and a concern for disabling, disconnecting and deconstructing time.

A Rebellious action – suggested the opposition of me in authority, against an unsuccessful defiance of resistance. In terms of processing this work, the configuration  aimed to display a dismantling and deconstructing of material, element and surface.  I achieved this by breaking up, deconstructing and causing conflict, within a mode of activating through applying and removing. I also saw this as a way of expressing a certain amount of anarchy into each product.

 Improvisation – was included as something that inserted spontaneity into a process of designing and working,  where plans could be altered in the hope of stretching my imagination. Sparks between myself and work heightened, as spontaneity led to unforgettable performances. This also symbolized an exaggeration into new possibilities, where the unpredictability started to become more visual. A willingness to challenge, test and understand  became more intensive, as a contrasting range of composing materials and elements with opposing surfaces materialized.

 

 

Photos which show documentation from a production of layering, mixing, dunking and imprinting information

 Time Cycle

From Wednesday 01st August to Friday 10th August – This was the time period accounting for the mixing process, and dunking and pouring technique, drying stage and the investigation phase capturing and recording a performance of informing (data information). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle (In conjunction with PSTD #1 & #2) Time Structure spontaneous– Monday, Tuesday, Wednesday, Thursday and Friday With a 1 Hour break, again not set and structured.

(Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) had been disconnected – An act of applying and removing was the main objective. A mix, dunk and pour to be included at the end of each working day.

This was achieved in my Farnham studio at UCA.

Time record sheet

Wednesday 01st August – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking & Pouring technique) + Imprinting of understood Information = ( Data process Square & Purple Gloss + Bright Yellow gloss) & Documentation (Carried out in UCA Sculpture space = Final Degree show space – Farnham, Surrey)

Wednesday 01st August – 09:54am – 10:00 am – (Mixing process, Dunking and Pouring – process / technique)
Wednesday 01st August – Documentation stage Starts at 10:37am and ends at 10:43am
Thursday 02nd August – Start of exercise at 09:30am – End of exercise at 13:30pm (Data Process Square informed on reformed surface)
Thursday 02nd August – Documentation stage 1 Starts at 13:37pm and ends at 13:40pm
Thursday 02nd August – 16:45pm – 17:16 pm – (Mixing process, Dunking and Pouring – process / technique)
Thursday 02nd August – Documentation stage 2 Starts at 17:20pm and ends at 17:26pm
Friday 03rd August – Start of exercise at 09:21am – End of exercise at 11:30am (Concave shifts informed on reformed surface)
Friday 03rd August – Start of exercise at 11:30am – End of exercise at 13:30pm (Projected shifts informed on reformed surface)
Friday 03rd August – Documentation stage 1 Starts at 13:35pm and ends at 13:39pm
Friday 03rd August – 16:55pm – 17:19 pm – (Mixing process, Dunking and Pouring – process / technique)
Friday 03rd August – Documentation stage 2 Starts at 17:21pm and ends at 17:25pm

Saturday 04th August – (No work achieved) – Studio at UCA closed for the weekend
Sunday 05th August – (No work achieved) – Studio at UCA closed for the weekend

This extract gives an insight into how methods, processes and techniques were performed and activated

Mixing, Dunking and Pouring (Process, Technique, Stage)

 Carried out at the end of each working day, unless stated otherwise.

Drying Stage

At the end of the mixing – dunking – pouring process and technique, the surface was left to dry before providing investigated information.

 The application stage of providing new information (Data) –  Was from Monday to Friday at (Farnham UCA) without using a time constraint (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio, or if I have an engagement I could not avoid.)

Application Process
Raw Data and Historical Data (Past Time)

Media used during Mixing, Dunking, Pouring process technique
Version 1
Tanking slurry, Plaster, Mortar plasticiser, concentrated sugar soap, Varnish, Gloss
Version 2
Matt paint, Emulsion paint, Acrylic, Beeswax, PVA admix adhesive

 

Media used to Imprint Information
Square process symbol – produced from Matt paint

Stored Data modifying to Raw / Historical Data (Present Time travelling into Past Time)
Media used for amplifying Projected and Concaved shifts

Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Purple Gloss Finish

Bright Yellow Gloss Finish

 

 

Photos which displays (PSTD) #3 in a finalised position

 

 

Primary Scientific Time Data (PSTD) #2

Friday 17th August, 2018

A systematic operation focused on Primary themes such as Science / Experimentation, Time and Data 

Primary Scientific Time Data (PSTD) #2
2018

Paulin, Dirt, Sand, Cement, Tanking slurry, PVA admix adhesive, Concentrated sugar soap, Varnish, Gloss, Emulsion paint, Matt paint, Gloss paint

A brief overview into the exact avenues I took in order to integrate methods, techniques and processes into the production of these works

Time Operation Series   stood for the activation between the elements of chance and the unpredictable. I was interested in this idea of temporal characteristics emerging through undetermined processes and techniques, where the overall formulation of the work was not fully understood, until a record of investigation and information was exerted. This was achieved through the passage of time, where all 3 modes were visually represented – (The past, the present and the future).

Unknown Process – Raw Data & Historical Data – represented a reflection upon  consistent conversations, as this enabled me to see and find out what had occurred. It started to become less unknown and foreign and more insightful. Key aspects which were addressed from this creative process were intuition, inspiration, working processes, refining, and presenting, firstly to me and then the audience. The original unknown attachment started to generate a consideration, making the process and system more informative. (Raw Data), is data which is not fully processed, where it is still in a state of transformation and flux. In my practice this is the (Unknown process) where all surfaces, materials and elements are still in operation, and yet to be fully examined and explained. (Historical Data) is broad findings which have been collected over time, but again not fully processed and stored. In this series it is when original information has shifted, not completely stored and fixed due to the ongoing working of the (Unknown process).  I work with paint to describe and give informative awareness to this change within the surface. I try to display all transformations made, where the materials and elements have reacted with the surface, and this suggestion of a happening occurring through a particular moment of time. The work acts as a broadcast to the audience as it displays what went on from this unidentifiable event. (Stored Data) suggests data which has been processed, where data is grouped or symbolised in order to give meaning.

To portray the meaning of (Stored data) and the (Unknown process)  it displays a disconnection from the operation and system. So the paint used in (Stage 3) can be presented as stored and fixed data. The surface goes through no more transformation period, so all information selected stays and can be seen as (Factual data) displayed as concrete (Visual data).

 

Photos which show documentation from an initial introduction stage, and the working period of stages 1 & 2

Time Cycle

From Tuesday 26th June to Friday 10th August – This was the time period accounting for the mixing process, dunking technique, tying and the drying stage, the investigation phase and the capturing and recording performance of information (data). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle 10:00 am – 18:00pm – Wednesday and Thursday, 10:00am – 19:00pm Friday and 10:00 am – 17:00pm Saturday.

(Stage 2) With a 1 Hour break at 14:00pm.
This was achieved during the Art show Affiliate at Safehouse 2 in Peckham, London.
(Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) has been disconnected.

Time cycle sporadic, worked with as much time possibly allocated to me – Monday, Tuesday, Wednesday, Thursday and Friday. (Stage 3) With a 1 Hour break at 13:30pm.
During (Stage 3) Time was uniformed and set accordingly to (PSTD #1) and (PSTD #2) – One working day on this work with the following day on one of the other works from the series.

This was achieved in my Farnham studio at the UCA.

Time record sheet

Tuesday 26th June – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking technique & Documentation stage) – Integrating the materials and elements – Paulin, Dirt, Sand, Cement, Tanking slurry, PVA Admix Adhesive, Concentrated Sugar Soap, Varnish, Gloss, – Stage 1 (Data) – (Carried out at Safehouse 2, Peckham, London)

Tuesday 26th June – TBC – 10:00 am – (Mixing process, Dunking and Tying technique) + (Documentation stage)

Tuesday 01st May – From 10:00am – 09:30am Wednesday 02nd May (Drying Stage)

The start of recording and amplifying all (Projected) + (Concave) Shifts made to the reformed surface – Cupcake and Celtic Dream Emulsion paints used for informing the (Projected shifts) and Brilliant white Matt paint used for informing the (Concave shifts) – Stage 2 (Raw and Historical Data Information) – (Carried out at Safehouse 2, Peckham, London)

Wednesday 27th June – Start of exercise at 10:00am – 11:12am (Stopping the exercise because Daniella, Director at Rossi Asiaghi arrived at the show). 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)
Wednesday 27th June – Exercise resumes at 12:00pm – 1 Hour break 14:00pm – 15:00pm – End of exercise 18:00pm (Concave shifts informed on reformed surface)
Wednesday 27th June – Documentation stage Starts at 18:00pm (1st stage) lasts 5 minutes – (2nd Stage) lasts 4 minutes
Wednesday 27th June – Mixing process, Dunking and Tying technique starts at 18:05pm and ends at 18:27pm – Drying stage starts and ends when exercise resumes on the next working day
Thursday 28th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 18:00pm (Projected shifts informed on reformed surface)
Thursday 28th June – Documentation stage Starts at 18:00pm (1st stage) lasts 6 minutes – (2nd Stage) lasts 5 minutes
Thursday 28th June – Mixing process, Dunking and Tying technique starts at 18:06pm and ends at 18:30pm – Drying stage starts and ends when exercise resumes on the next working day
Friday 29th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 19:00pm (Concave shifts informed on reformed surface)
Friday 29th June – Documentation stage Starts at 18:01pm (1st stage) lasts 5 minutes – (2nd Stage) lasts 4 minutes
Friday 29th June – Mixing process, Dunking and Tying technique starts at 18:36pm and ends at 19:00pm – Drying stage starts and ends when exercise resumes on the next working day
Saturday 30th June – Start of exercise at 10:00am – 1 Hour break 14:00pm – 15:00pm – End of exercise 17:00pm (Projected shifts informed on reformed surface)
Saturday 30th June – Documentation stage Starts at 17:00pm (1st stage) lasts 6 minutes – (2nd Stage) N/A
Sunday 01st July – (No work achieved) – Studio at UCA closed for the weekend

This extract gives an insight into how Stages 1 & 2 were performed and activated

Mixing, Dunking and Tying (Process, Technique, Stage)

 Carried out (On the Tuesday) during the installation of the work at safehouse 2 for the art show Affiliate, then after each working day during (Stage 2), Wednesday, Thursday and Friday but not Saturday. Then one last time before the (Unknown process) was disconnected, before the operation moved into its final stage (Stage 3).
Connected from only 3 points during this stage. Firstly carried out during the Affiliate show in Peckham, before being transferred to the Degree show space at UCA.

Drying Stage

At the end of the mixing process, dunking technique and tying stage on the Tuesday at (Safehouse 2), the surface was left to dry for the remainder of the day, before starting the recording exercise the following day.
The surface dried again after its last inclusion to the (Unknown process) before being moved into (Stage 3)

Investigation, Documentation and Recording System – Also known as storing new information (Data)

Application stage of providing new information (Data) – From Wednesday, Thursday 10:00 am – 18:00 pm, Friday 10:00 am – 19:00 pm and Saturday 10:00 am – 17:00pm at (Safehouse 2) – Affiliate show in Peckham. (Unless stated otherwise – This referred to any potential interruption, for example when I was on the building site instead of working in the studio or if I had an engagement I cannot avoid.)
Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday, Thursday and Friday at (Farnham UCA), In a time structure which was sporadic, what was most important was how I used available time well,  each day during (Stage 3). (Unless stated otherwise)

The objective I  set myself was to try and find new changes made within the reformed surface by amplifying every Projected and Concave shift. This represented (Raw & Historical data) for stage 2, identifying every Projected and Concave shift which represented (Stored data) for (Stage 3) . This was done within the set time frame I set for each working day, when in (Safehouse 2) which was linked to (Stage 2). This was completed on alternate days – For example, in this work Wednesday 27th June started with informing new Concave shifts, with the following day Thursday 28th June informing the Projected shifts and so on. If there was a day I had to surrender for this operation the next available day was  issued to either the Projected shift or the Concave shift.

I allowed myself an hour’s break during each working day. This would be when I would take lunch, linking this to my life as a supporting builder. I was not able to set the exact time frame which is 13:00pm – 14:00pm, because of having to amend my working cycle, however I was still keen to work with an 8 hour working day, so a lunch break for this work commenced at 14:00pm and ended at 15:00pm for (Stage 2). This did not include Tuesday 26th June because this was dedicated to just the mixing, dunking, and tying process, technique and stage for (stage 3) the documentation process was slightly different as all images taken were designed to just show the progression of data being stored onto the surface.

As well as documenting my own imprinting of primary sourced data information by highlighting and amplifying all (Projected) and (Concave) shifts found on the reformed surface I also embedded recognizable data symbols which fitted in with the operative system for these works.

Start Symbol – Also known as the Terminator symbol, this symbol represented the start points of a data document. In reference to this work the information was carried out marking the starting point of the reformed surface. I used Brilliant White Matt Paint which was a media used during the first stages of imprinting information – When the operative system started. Gloss paint was added to mark the end of the operation.
Process Symbol – Also known as the Action Symbol. This symbol represented the first insertion of this data symbolization, before it got taken over by the Stored data symbol. It also referenced the (Unknown Process), as all action which materialized was before any investigation . I Used Brilliant White Matt Paint as a media, as this was used during the first stages of imprinting information – When still in the system of processing.
Stored Data Symbol – Also known as Data Storage. This data symbol was used to display the act of non-removal, fixed data. This was carried out using both Purple Gloss and Bright Yellow Gloss paint. This was only added after the inclusion of the process symbol, in order to show this act of a data symbol which has a higher status which cannot be removed.

 

Photos which show documentation from Stage 3

Application Process
(Stage 2)
Raw and Historical Data

Media used for amplifying Projected shifts
Emulsion paint from a tub, applied with a size 3, 6, 10 and 30 brush
Cupcake
Celtic Dream

Media used for amplifying Concave shifts
Matt paint from a tin applied with a 3, 6, 10 and 30 brush
Brilliant White

Application Process
(Stage 3)
Stored Data

Media used for amplifying Projected and Concave shifts & Data Flow Symbols
Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Brilliant White Matt paint

Purple Gloss Finish

Bright Yellow Gloss Finish

 

Photos which displays (PSTD) #2 in a finalised position

Primary Scientific Time Data (PSTD) #1

Thursday 16th August, 2018

A systematic operation focused on constructing Time in all its modes (The past, present and future) captured through informative recordings of data

Primary Scientific Time Data (PSTD) #1
2018

Cotton mesh, Wood stain, Tanking slurry, Mortar plasticiser, Varnish, Gloss, Emulsion paint, Masonry paint, Acrylic, Matt paint, Gloss paint

A brief overview into the designed titles for this work and (PSTD) #2 & #3

Primary – stands for information found and collected by the investigator who has conducted the event. In this case me as the artist I am the author and the conductor. I have organised, devised and structured this operation, and it is me who imprints and ingrains information to the surface.

Scientific – represents information collected using specific methods, for exact purposes of studying or analysing. In connection to this work information is collected under specific and rigorous methods and guidelines, all of which are structured under a devised plan and operation, linked to a cycle based from the notion of time. How much data is found within the allotted time for the day. This is recorded in a Time Record Sheet which documents how many working hours has gone into the gathering and measuring of data for a specific day. All my works evolve from an experiment where materials elements and surfaces are put through a process which are attached to foreign and unknown formulas. Whatever enters the process is instantly taken away from its original function, and put in a system which opens up new approaches into investigating, documenting and recording. Aspects of chance, the unpredictable and unexplained possibilities are heightened during this stage in the process, as I am never sure what will happen, if it will work and even if it will last.

Time – suggests the conceptual framework in this work, which originates from the constructed Time Record Sheets. The aspect of time guides the operation and helps support each staged process. This idea of time arrived from my life as a supporting builder, where everything on site is done to clockwork. I wanted to feed the same working ethic into this system which is built around much organization. The Time Record Sheets can illustrate this theory and can also relate to something known as Real – Time Data, which is when data is recorded and tracked in a graph or data sheet as soon as it has entered the system – or in this case implanted onto the surface.

Data – is information that has been translated into a form that is efficient for movement or processing. The units of data which are collected are measured and continue to grow as each amount of data stored continues to evolve in the system. This work tries to inform through a description of findings which are constantly in a state of developing, this is achieved once the given surface has undergone a process of mixing which reforms its original consistency. It is at this stage when data is picked up through the medium of paint which highlights and amplifies any given change. This shapes a visual form to the surface, all built up from lines, bars and patterns of colour. The information found gives knowledge to me, as I have to firstly investigate to understand what has happened, before adding my own transcription of informed data. This then gives the viewer an account of what has materialized and developed, as well as depicting a link to constant advancements over time.

 

Photos which show documentation from an initial introduction stage, and the working period of stages 1 & 2

Time Cycle

From Tuesday 01st May to Friday 10th August – This time period accounted for the mixing process, dunking technique, tying and the drying stage, the investigation phase and the capturing and recording performance of informing (data). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle 9:30am – 17:30pm – Monday, Tuesday, Wednesday and Thursday.

(Stage 2) With a 1 Hour break at 13:30pm. (Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) has been disconnected.

Time cycle sporadic – work with as much time possibly allocated to me – Monday, Tuesday, Wednesday, Thursday and Friday. (Stage 3) With a 1 Hour break at 13:30pm
During (Stage 3) Time will be uniformed and set accordingly to (PSTD #1) and (PSTD #2) – One working day on one work with the following day on the other work.

This was achieved in my Farnham studio at the UCA.

Time record sheet

Tuesday 01st May – Friday 10th August

The initial materialization of the (Unknown Process) – (The Mixing process, Dunking technique & Documentation stage) – Integrating the materials and elements – Cotton mesh, Wood stain, Tanking slurry, Mortar plasticiser, Varnish, Gloss, – Stage 1 (Data) – (Carried out in UCA studio, Farnham, Surrey)

Tuesday 01st May – 09:30am – 10:00 am – (Mixing process, Dunking and Tying technique) + (Documentation stage)

Tuesday 01st May – From 10:00am – 09:30am Wednesday 02nd May (Drying Stage)

The start of recording and amplifying all (Projected) + (Concave) Shifts made to the reformed surface – Ivory black acrylic + Brick red & Buttercup Masonry paint used for informing the (Projected shifts) and Brilliant white Matt paint used for informing the (Concave shifts) Stage 2 (Raw and Historical Data Information) – (Carried out in UCA studio, Farnham, Surrey)

Wednesday 02nd May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

Thursday 03rd May – Start of exercise 09:30am – 11:20am (Stopping the exercise at this time because I am supporting Marija Rudgalvyte with her photography project.) (Concave shifts informed on reformed surface)

Thursday 03rd May – Exercise resumes at 12:15pm – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)

Friday 04th May – Documentation stage Starts at 09:30am (1st stage) lasts 4 minutes – (2nd Stage) lasts 5 minutes
Friday 04th May – Mixing process, Dunking and Tying technique starts at 09:42am and ends at 09:55am – Drying stage starts and ends when exercise resumes on the next working day

Saturday 05th May – (No work achieved) – Studio at UCA closed for the weekend

• Sunday 06th May – (No work achieved) – Studio at UCA closed for the weekend

Monday 07th May – (No work achieved) – Studio at UCA closed due to today being a bank holiday
Tuesday 08th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – (Had to stop exercise at 16:25pm due to tutorial with Tom Dale.) (Projected shifts informed on reformed surface)

Tuesday 08th May – Exercise resumes at 16:35pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

Wednesday 09th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Concave shifts informed on reformed surface)

Thursday 10th May – Start of exercise at 09:30am – 1 Hour break 13:30pm – 14:30pm – End of exercise 17:30pm (Projected shifts informed on reformed surface)

This extract gives an insight into how Stages 1 & 2 were performed and activated

Mixing, Dunking and Tying (Process, Technique, Stage)

Carried out (On the Friday) at the end of each working week, unless stated otherwise.
Connected from 3 points one week, and 5 points the following week, this created a unique transformative suggestion within the surface.

Drying Stage

At the end of the mixing process, dunking technique and tying stage on the Friday, the surface was left to dry for the remainder of the day and into the weekend (Saturday & Sunday) when the studio was closed.
The exercise of investigating and recording new information (data) is activated again on the Monday of the following week.

Investigation, Documentation and Recording System – Also known as storing new information (Data)

Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday and Thursday at (Farnham UCA) between 9:30am – 17:30pm each day (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio, or if I had an engagement I could not avoid.)
Application stage of providing new information (Data) – From Monday, Tuesday, Wednesday, Thursday and Friday at (Farnham UCA), In a time structure which was sporadic. What was most important was how I used all time available each day (Stage 3). (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio or if I had an engagement I could not avoid.)
The objective I set myself was to try and find new changes made within the reformed surface by amplifying every Projected and Concave shift. This represented (Raw & Historical data) for stage 2 and gave indication to every Projected and Concave shift which represented (Stored data) for (Stage 3). This was done within a set time frame for each working day when in the studio at UCA for (Stage 2). This was completed on alternate days – For example, in this work Wednesday 02nd May started with informing new Projected shifts, whilst the following day Thursday 03rd May I informed the Concave shifts and so on. If there was a day I had to surrender for this operation the next available day was issued to either the Projected shifts or the Concave shifts. This would be the same for (stage 3) but without any set time structure.

I allowed myself an hour’s break in each working day. This was when I would take lunch linking this to my life as a supporting builder, however I was not able to set the exact time frame which is 13:00pm – 14:00pm, because of having to amend my working cycle. However I was keen to still work with an 8 hour working day, so a lunch break for this work started at 13:30pm and end at 14:30pm. This did not include Friday because this was dedicated to just the mixing, dunking, and tying process, technique and stage.

As well as documenting my own imprinting of primary sourced data information by highlighting and amplifying all (Projected) and (Concave) shifts found on the reformed surface I also embedded recognizable data symbols which fitted in with the operative system for these works.

Start Symbol – Also known as the Terminator symbol, this symbol represented the start points of a data document. In reference to this work the information was carried out marking the starting point of the reformed surface. I used Brilliant White Matt Paint which was a media used during the first stages of imprinting information – When the operative system started. Gloss paint was added to mark the end of the operation.
Process Symbol – Also known as the Action Symbol. This symbol represented the first insertion of this data symbolization, before it got taken over by the Stored data symbol. It also referenced the (Unknown Process), as all action which materialized was before any investigation . I Used Brilliant White Matt Paint as a media, as this was used during the first stages of imprinting information – When still in the system of processing.
Stored Data Symbol – Also known as Data Storage. This data symbol was used to display the act of non-removal, fixed data. This was carried out using both Purple Gloss and Bright Yellow Gloss paint. This was only added after the inclusion of the process symbol, in order to show this act of a data symbol which has a higher status which cannot be removed.

 

Photos which show documentation from Stage 3

All of these symbols will collaborate, correspond and collide with my own transcription of unique data coding!

Application Process
(Stage 2)
Raw Data and Historical Data

Media used for amplifying Projected shifts
Acrylic tube paint, applied with a size 3, 6, 10 and 30 brush
Ivory Black

Media used for amplifying Projected shifts
Masonry paint from a tub, applied with a size 3, 6, 10 and 30 brush
Brick Red
Buttercup

Media used for amplifying Concave shifts
Matt paint from a tin applied with a 3, 6, 10 and 30 brush
Brilliant White

Application Process
(Stage 3)
Stored Data

Media used for amplifying Projected and Concave shifts & Data Flow Symbols
Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush

Brilliant White Matt paint

Purple Gloss Finish

Bright Yellow Gloss Finish

 

Photos which displays (PSTD) #1 in a finalised position 

 

Artist talk by Jonathan Parsons on his work ‘Fossil Ocean Floor’

Saturday 14th July, 2018

fossil ocean floor installation for Jonathan Parsons pic 5

‘Fossil Ocean Floor’, 2018

On Tuesday 10th July in the beautiful setting of Leith Hill Place artist Jonathan Parsons delivered a fascinating talk about his latest work ‘Fossil Ocean Floor’ and the wider concepts of his art practice.

The work was a contribution towards the Surrey Unearthed project which featured 9 other artists, whose objective was to create outstanding works which engaged with the wonderful natural landscape.

Jonathan’s talk began with his interest in occurring images, whether this is something we portray deliberately or something which occurs through a spontaneous approach. A phenomenon which attracts our sole attention where we start making sense from what is given to us, which constructs questions like:

  • How do we make an image?
  • How do we understand an image?
  • How did this image emerge?

 

Could an image originate from a wider experience, like a painting or drawing?

Remote Imagery is an important component involved in the process of creating, as the acquisition of information found in an object or phenomenon without making physical contact with the object draws contrast to on-site observation.

This then follows onto Jonathan’s concern with a sensory experience.

Sensory comes from the Latin word sentire, meaning “to perceive, feel.” When you include an experience as well this sense heightens where you start to evolve outside normal sensory channels.

In relation to ‘Fossil Ocean Floor’ an individual sensory experience is firstly achieved from Jonathan as he impacts with the surroundings. The use of white in the work is inspired by ancient chalk hill figures, and the discs representing the texts inform the microscopic coccoliths that make up the sedimentary layers of chalk to which the work ‘lamina’ refers. Although this is an in depth account with meaning, the beauty this work gives is a chance to inherit your own experience forming passages to new theories and conversations.

‘Fossil Ocean Floor’ remains installed until the 31st August 2018, so an opportunity is still open to encounter your own sensory experience.