The Grapes of Laugh

I thought I would publish this post in an effort to re-engage with my so called digital sketch book. This piece, titled The Grapes of Laugh was made whilst I was living in New York in 2015 and undertaking a particularly life altering workshop, Functional and Intuitive Art with artist Genesis Breyer P-Orridge.

I have been attempting to process my experience during this time for the last four years now, and failing! I have a blog post in my drafts on here that I hope to finish at some point but I have no idea when that will happen,

This particular object serves as a reminder to be happy or perhaps more accurately it acts as a conduit for happiness. Due to its interactive ability; the lid can be opened or closed, happiness can be contained or allowed out so you can get a quick dose of it. The glass grapes were bought in China Town and signify prosperity and ov course the air bnb I was living in had a stained glass sticker of grapevines on the window in the bathroom.

I recently had a job interview where I had to bring an object and talk about it. I chose this item and in order to transport it had to close it up. I am NEVER doing that again……. The normally stressful, but manageable journey was absolute hell, even involving a rush hour crush and a spider, and I had to reschedule the interview.

I did actually get the job in the end though, perhaps because the grapes were returned to their rightful open state during it. Needless to say I’m never closing it up again!

Mirko Virius Gallery Visit

In this post I will be talking about The Croatian Association of Naive Artists.

Last summer I had the pleasure of visiting the Mirko Virius Gallery in Zagreb, Croatia. The artist’s exhibited at the gallery are all Naive Artists, in the sense that they have had little or no formal artistic training. They also adopt their own creative style which is normally characterised by its childlike or ‘naive’ quality. Proportion and more importantly, realism is not the focus of these works, yet the simplicity and imagination of these works somehow presents a truer reality.

Sometimes formal training can remove the wonder and true creativity of the practitioner, or it can insert certain ideas and concepts into the artist’s mind and force their hand into a certain discipline or style.Whilst it is great and necessary to learn about what has come before, sometimes creativity needs to come from deep within the artist, without any restraints.

The gallery is named after Mirko Virius, a peasant and self-taught painter who became a forerunner of Croatian Naive Art after participating in the First Exhibition of Peasant Painters. Despite only being an active painter for three years (1936-1939), his paintings captured the politics behind social themes in paintings such as The Beggar, The Plowing and The Overturned Cart. Virius was arrested during World War II due to his political activities and taken to a Nazi concentration camp in Zemun, Serbia, where he died in 1943. His tragic fate was immortalised by his friend Generalić, who painted The Death of Virius, one of his most famous paintings.With these events you can begin to see just how important a role naive art has played in Croatian history.

I feel more of an affinity myself towards Naive Art, or Outsider Art, in the sense that even though I have an arts education background I do not feel that connected to the mainstream art world. I create work purely because I cannot imagine not doing so and I create work primarily for myself.

I am also including a link to a good friend of mine’s blog. Clare Brown is currently living in Split, Croatia (I’m not jealous at all…..) and has written a piece about her visit to the Croatian Museum of Naive Art (which is just up the road from the Mirko Virius Gallery).

Inextinguishable Fire – by Cassils

I haven’t written anything for a while but I felt compelled to do so after bearing witness to the breathtaking performance by Cassils at the National Theatre last night.

Having been a fan of Cassils for a while, initially due to their work Cuts: A Traditional Sculpture, their work using bodybuilding and a passing into a hyper-masculine physique through it. I also had the pleasure of attending a talk by Cassils in New York at the Leslie-Lohman Museum of Gay and Lesbian Art, and hearing about the film Inextinguishable Fire I was so excited to see a live aspect of this piece, not entirely understanding how this would materialise.

The performance began with Cassils topless on the stage with clothing paraphernalia around them, there was a good seven minutes or so before the professional looking men in boiler suits began methodically dressing Cassils in wet clothing which look liked thermal layers, as Cassils began to shake it became clear that these garments must be freezing cold. The soundtrack started to become impossible to ignore around the third layer of these wet items as what began as a low drone, similar to a helicopter flying low overheard, took on an even more bass like rumble, adding even more to the tension and feeling that something awful or wonderful was about to happen.

The preparation for the actual self-immolation took about fifteen minutes but felt like an eternity as our heart rates sky rocketed and you could see audience members clutching at each others hands. The whole theatre was undoubtably nervous, is there a possibility this could get out of hand and go wrong? Do our desensitised minds actually want that to happen, for us to be witnesses to a true self-immolation? As the team of three men finish preparing Cassils, with the last smearing of  a vaseline looking substance to their face (it definitely can’t have been vaseline as that is flammable!) one the technicians lights a torch, like a wooden staff used to burn witches of old at the stake, and shouts ‘You’re on fire’.

And they were.

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The fire itself only lasted about 14 seconds but the act itself was so powerful that these 14 seconds stretched to an eternity as we all realised we were truly spectators to someone setting their-self on fire, no matter how many safety aspects were involved, this was truly happening, to a live human being, and we just sat and watched.

We were then led haphazardly outside, myself and my friend shakily walking at this point, to the other side of the National Theatre where the film of Inextinguishable Fire was projected on an outside wall. One of our key observations, that highlighted even further the importance to Cassils work and left us with a kind of desperate feeling for the human race, was that the passers by took no notice of the film, a few people would look up but no one stopped to see what was going despite the brightness and intensity of the film, the only people not from the original audience that seemed to be transfixed were small children. It was just such a poignant example of our desensitised selfs, the fact that we do see so much violence and pain inflicted on people and really just don’t care because it isn’t happening to us. It was also interesting to think if the film would’ve had the same effect if I hadn’t seen the live action immolation moments before.

I have never had such a strong reaction to anything in my life! And I think this was the purest and most engaging way to remember, on the apt Sunday of Remembrance. When something is ingrained with so much suffering and history, monks setting themselves on fire in protest, women being persecuted because men fear them, children in agony because of another pointless war, it just cannot fail to change your way of thinking, even in the slightest way. I often think that our generation is the least capable of empathy because in the Western World we are in danger of having no idea or connection to what it feels like to truly suffer and any suffering that happens around us is so disconnected from us in that we only engage with it through a screen, which we can ultimately X out of at any point.

‘When we show you pictures of napalm victims, you’ll shut your eyes. You’ll close your eyes to the pictures. Then you’ll close them to the memory. And then you’ll close your eyes to the facts.’  – Harun Farocki

Cassils // Inextinguishable Fire – Trailer from stichting MU on Vimeo.

 

 

Work Programme 67 – JENNY MILARSKI

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© Huw Bartlett 2014

I have just finished an intense  3 weeks as Curator in Residence at the Community Arts Centre, Brighton. Despite a few suggestions against it I decided to start off the 3 weeks myself and invited two artists, whose work I admired and felt could benefit from the space and bring something different, to each have their own week. As I may have previously explained, the Work Programmes at CAC begin on the Monday with the ceremonious handing over of the keys to the artist and finish with an exhibition on the following Saturday.

I am particularly in love with the space and the freedom and inspiration that it provides and enjoy the thrill on a Saturday night of wondering just how differently people will interpret it. As I had already done a work programme last year (click here to see images from the previous year) I was quite apprehensive about how I would interact with the space this time, I was concerned that I would end up repeating things from last year and that it would pale in comparison. In actual fact I did end up mirroring (literally) certain things from the previous year as it felt like a progression of ideas in each room.

Whereas last year I had a physique bodybuilder performing, this year I performed myself. Following on from the confidence I had gained during the LADA workshop the previous week I knew that it had to be me and although this proved to be an extremely daunting experience, and in the week leading up to the exhibition and I constantly questioned if I was making massive mistake, but no matter how nervous I got I knew that there was no way that I wasn’t going to do it. Painting my nails pink, getting a spray tan, putting on the wig and then finally the bikini I covered up the ‘me’ aspects so that all that was left was my physical form, which could be any successful white body in terms that it is healthy, physically able, well nourished, not obese etc.

IMG_2185The performance itself took place over two hours and the audience where invited in for a one-on-one experience. My boyfriend was the bouncer on the door making sure that people waited their turn and I quite like the connotations that go alongside him being the one who allows others to look at me, there’s a kind of pimp dynamic and once inside the room has red lighting and a golden throne chair for the viewer to sit on, making it almost a peep show or lap dance type environment. The emphasis wasn’t on the sexual however, with farcical exaggerations of grandeur such as the ‘gold’ jewellery I was wearing, the clearly not my own hair blonde bombshell wig, the idea was more towards the failure of sexiness. I don’t have abs, so I had drawn them on with eyebrow pencil, I don’t have large bicep muscles so the bodybuilding poses that I was mimicking were exactly that, a mimicry, a parody or poor copy. The fake smile (which I almost lost quite near to the start due a twitching cheek muscle!) and everything about the performance was essentially fake.

 

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Images © Alice Tenquist

‘Is it a bird…? Is it a Plane…?’ DIY 11: 2014

After doing a DIY Workshop last year through the Live Art Development Agency I decided to apply for another workshop this year. The one that really caught my eye was run by performance artists The Famous Lauren Barri Holstein and Martin O’Brien.

Along with fellow participants Katy Baird, Sophie Cullinan, Ria Hartley and Emelía Antonsdóttir Crivello, the idea of the superhero as a catalyst for performance making was explored. My boundaries were well and truly pushed from the get go as we learned hip hop dances, frolicked in washing up liquid (not that I could let go enough to do much frolicking!) and recited Hamlet to the tune of twinkle twinkle little star.

I learnt a lot about myself over the three days, particularly about my attitude to success and failure. The tasks were specifically hard for me as I operate under the assumption that there is a right way and a wrong way to do everything, that I need to constantly be in control of myself and my surroundings and on some perverse level enjoy constantly telling myself that I am doing it all wrong and failing. The workshop helped me to see how ridiculous these notions are and that the most interesting situations that open up a dialogue revolve around things going wrong, almost reaching their goal but not quite and just generally failing.

The three days were finished off with a photo shoot in which we show-cased our developed superhero characters. Mine was Kyphosisa (Kyphosis being the medical term for a hunch back which I have a mild case of). She represents the acceptance of flaws and failure, showing that when we finally do this great, powerful things can happen.

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The whole experience was incredibly mind altering and where I had previously been using other bodies in my work I finally realised that my own body signified the same things, generic success in the sense that it’s able, relatively fit and white. I had previously wanted to train myself to the standard of  a bodybuilder and use this point from which to create work and a discourse, however I now realise there is much a more interesting space in which to do this with my body as it is now. This has prompted me to do a performance myself which I will talk about in my next post.

French Beaded Flowers

I am a member of the Reigate Antique Society, a group that meets up once a month. Each month a different Antiques expert provides us with an exciting talk in their specialism.

For this last July’s talk we did something a little different and members were invited to talk about their own collection or something they were passionate about. I decided to speak about French Beaded Flowers as I have been enamoured with these creations since I first learned of their existence a couple of years ago.

French Beaded Flowers – A history

French beaded flowers are small glass beads strung on to a fine wire and then fashioned in to various blooms. Because they are so pliable it is possible to create pretty much anything within your imagination with the use of a small number of tools and a great deal of patience. In the days before it was possible to purchase any and every type of flower from a florists, these beaded flowers provided a practical and exotic way to decorate your home, use as a wedding bouquet, or like the piece I own, used as funeral wreath or ornament.

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This is my beautiful beaded flower wreath in pride of place in my bathroom! Note perfume bottle for scale, it’s pretty big.

One of the reasons that flowers are associated with churches has to do with beads. In the thirteenth century a form of prayer using a string of beads was instituted by St. Dominic. The string, called a rosary, consisted at that time of 15 units of beads. Each unit contained 10 small beads, preceded by one larger one. A prayer was recited at every bead. The word “bede” (sp) is Middle English for “prayer.” Because of the length of the original rosary, it became customary to pay someone, usually a resident of an almshouse, to recite the prayers. These people were referred to as bede women or men, and it was they who made the first bead flowers. The craft was handed down through the centuries and came to be associated with the church and its decorations.

The art of making flowers out of beads is centuries old however there is very little documentation on the development of this art. Many books can be found of different flower patterns but only from about the 40s onwards.

According to references of beaded decorations, it is thought that the technique began as early as the 1300s in Germany when steel needles and wire were developed, and around the 1500s in Europe, predominantly, Italy and France. The peasants would collect discarded beads from the noble’s clothing and fashion them in to beautiful decorations. At one point there would be women sitting outside every door making these creations. In 16th Century Venice the poorer women would make money creating beaded flowers for churches, parade floats and banquet tables. I quite like the idea that they would be selling back to the upper classes their own discarded beads in banquet bouquets!

Different methods were developed over the years, the Victorian method, also known as the English or Russian method, and the French method. The main difference is that in the Victorian method, which is similar to modern bead jewelry-making techniques, the thread or wire passes through each bead twice or more, and the wire passes from row to row on the sides of the piece; in the French method, the wire passes through each bead only once, and passes from row to row in the center or on the bottom of the individual piece. I believe this makes the French beaded flowers more beautiful as they are more pliant and more life like.

Production of beaded flowers was no doubt advanced by the Industrial Revolution, which increased availability of glass beads of regular size and color. By the late 19th and early 20th centuries, beaded flowers were sometimes used in ornate funerary arrangements, where wired beads made up flowers and could also be wrapped around a metal framework. These were perfect for use during winter months when fresh flowers were not readily available, and they were long lasting without the need to be watered or replaced. The Victorians are most likely responsible for the introduction of the French beaded flower funeral wreaths as they fit perfectly in to the elaborate mourning rituals inspired by Queen Victoria’s grief over the death of her beloved Prince Albert. This type of artistic expression of mourning would have been popular along with the jewelry items holding a lock of the deceased’s hair which we have heard about in previous talks. The mourning wreaths would be in muted purples and blues, like the one I have brought along today.

After the Second World War beadwork of this kind gained its greatest popularity, with instruction kits being sold complete with materials and patterns, and department stores such as Marshall Fields and Bloomingdale’s sold beaded flowers imported from France. Famous French beaded flower owners include Marie Antoinette and Princess Grace.

Virginia Nathanson helped introduce this craft to a new audience and codified the technique in 1967 with the publication of her book The Art of Making Bead Flowers and Bouquets. She herself had purchased a bouquet of beaded flowers in a department store and took it aprt in order to understand how it was put together and began making them herself. Nathanson advocated beaded flowers for sale through mail order because of their “indestructible” nature. Testament to this is my own piece which was brought back from the South of France and has travelled around with me with no trouble. If it ever looks like the petals are drooping you can just rearrange them.

More recently French Beaded flowers were used to make wreaths commemorating 9/11. With the help of the internet many beaded flowers makers contacted each other and all worked towards creating these large scale pieces, sending a flower or section of wreath from all over the world. These are currently on display in the National September 11 Memorial Museum in New York which earlier this year.

Another exciting contemporary project which used french beaded flowers was commissioned by the Swarovski Crystal company. In order to showcase their line of crystal beads they had a collection of beaded flowers made.

Value wise I am not sure monetary value of these pieces, obviously the Swarovski ones would be worth a fair bit but as Jean rescued the piece I own from a skip! I am not entirely sure of pricing.

It seems as though the craft is gaining a lot of popularity recently with people making their own bouquets and even this Hawaiian Garland. Each flower is hand-stitched, one tiny seed bead at a time, taking over 100 hours and almost 35,000 beads to complete.

Having recently purchased a book on the techniques to arrive so watch this space for my creations! I want to create something typically ‘masculine’ out of these beautiful, delicate flowers and am currently working on a wrestling championship belt!!

Inspiration at Towner Gallery, Eastbourne

From the 2nd of February until the 14th of April, the Towner Gallery in Eastbourne was host to the magical film works of Kelly Richardson.

Each room on the top floor of the gallery was dedicated to a different mythical landscape, with the large initial room showing Leviathon, 2011 introduced a sci-fi like lagoon scene, looking like something out of Avatar and Predator combined.

The epic scale of the works provided an intensely immersive experience and films became portals to these unknown lands. This cinematic transportation of the viewer perfectly captured the feeling I get when standing on a mountain top or when exploring a dense forest, the feeling that no one else exists.  The double sided hanging forest projections, The Great Destroyer,  and The Erudtition, shown below were my favourite pieces.

On a separate, later trip to the Towner I had the good fortune of seeing film-maker John Skoog’s first UK solo show. I was particularly struck by his film Reduit (Redoubt) which takes the form of dark, brooding slow shots of the home of Swedish farmer Karl Goran Persson. Persson built the house by hand and fuelled by his intense fear of impending Soviet invasion continuously fortified his home with junk and found objects. The voice over provides an insight into the character of this farmer, who was so mightily strong he would carry large girders back from town on his bike to add to his fortress like home.

I have always been drawn to film as a medium for my own work due to its ability to take you outside of yourself, and convince you of its reality. Both the exhibitions I saw a the Towner showed a different type of world. The first a mythical landscape, digitally created and the second a mythical landscape created by hand.

Brighton ArtsFORUM – Feedback Circle Workshop

Brighton Arts Forum provides feedback for photography and lens based projects. I attended one of these feedback circle workshops as part of Brighton Photo Fringe and took along some film stills of a recent bodybuilding competition.

It is great that events like this exist as for artists like myself, freshly out of academia without the support and advice of your peers, there are not as many opportunities to present unfinished projects in a critique situation.

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The series of film stills, which I have titled Store Menn for a number of reasons, capture distorted moments from the initial judging of the mens physique category. The title comes from my own impressions of the men being on display, almost as if for sale, being judged and paraded around akin to a cattle market. Also store menn in Norwegian means big men and there is no doubt that these hyper-masculine forms are larger than life.

Fighting for Words

For three days in August I got up close and personal with a group of fellow artists in a DIY workshop organised by performance artist Kira O’Reilly . Part of the Live Art Development Agency’s DIY 10:2013 initiative to enable ‘unusual professional development projects conceived and run BY artists FOR artists’, Kira’s particular workshop was titled ‘Thinking Through the Body. Combative Manifestos’. This appealed to my continuing investigation in to what the body is capable of and specifically I was drawn to the idea of working with my own body. The workshop proved to be physically and mentally challenging.  For the duration of the workshop we wrestled, grappled and circuit trained with the idea of manifestos and words of intention in mind whilst exhausted. The parallel between the urgency of a manifesto and the urgency of trying to think and formulate words whilst exhausted was interesting, in both cases you are left with the pure and necessary. What needed to be said at that moment.

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Me getting my arse kicked by fellow artist Tom.

Towards the end of the workshop we began to think about how the skills we had learnt could be used in a performance. These ideas recently spawned in to an exhibition organised and curated by Anais Lalange at the Resistance Gallery in London. This chance to develop ideas and present them to an audience enabled me to hone in on my feelings around the workshop, namely my attitude towards sweat and not constantly upholding a perfected visage. Traveling from the workshops each day on the tube whilst still sweaty and with no make up on was, at first, an uncomfortable experience for me. It quickly became liberating and highlighted just how ingrained and ridiculous societal pressures for the way we look are, these ideas are reflected in the film, Wordout below.

The exhibition included performances by:

Joseph Mercier and Jordan Lennie – How I remember it, a recounting of  their recent performance piece Rite of Spring, a fight lasting the duration of the 100 year old, controversial piece of music by Stravinsky. They spoke of the oddness of how quickly the audience became accustomed to the violence and took sides, cheering for the men to tear each other a part. They also explained that due to the intensity of the fight they would not be repeating the performance.

Hellen Burrough and Philip Bedwell – Hellen reads The futurist manifesto of lust by Valentine De Saint-Point whilst Philip increases the intensity of a choke hold on her until she can longer breath or speak. The piece is very moving as the words are reflected in the tenderness of the embrace, which although violent is akin to lust in it’s intensity and intimacy. The fulfilment of lust is in itself a violent act ‘We must stop despising Desire, this attraction at once delicate and brutal between two bodies, of whatever sex, two bodies that want each other, striving for unity.’

A group performance combining a minute of repeated excercise with a minute of manifesto creating (completing sentences from a given few words)  dictated by MMA coach James Duncalf (who was our teacher of all things fight-y during the workshop) and carried out by the following artist – Hamish MacPherson, Laura Burns, Anais Lalange, Hellen Burrough, Philip Bedwell and Jungmin Son.

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MMA coach James Duncalf giving an example of one of the exercises, Photo courtesy of Alistair Veryard

Anais and Laura – Anais reads  as Laura restrains her. The exertion of constantly trying to battle and resist is heard in her voice and a further urgency is given to the words.

Finally Hamish and Laura fought out their thoughts around the idea of a manifesto.

The film that I created for the event was a reflection on the words that had gone through my head during the workshop, my attitude to sweat and the idea of words as motivator and catalyst. I used a mixture of words I had written during the workshop and those which had stood out to me since. I particularly liked the idea of words associated with battle, and was drawn to quotes from films such as Conan the Barbarian and 300. These films depicting hyper-masculinty and violent strength bring to mind the feeling of working out, and reflected the feelings conjured up in myself when I was wrestling with the other artists. The film also dealt with my feelings around body image and I feel the quest to achieve ‘the perfect body’ is really an inner voice calling out for warrior days, when humans could hunt and bodily contact was a way to communicate the entire spectrum emotions.

Glitch Art extravaganza at Furtherfield Gallery

As part of the exhibition Glitch moment/ums at Furtherfield Gallery an online exhibition 0P3NR3P0, is asking for glitchy submissions.

I submitted the film below. It was originally made to be projected in to a book (this project is still under construction and will be in an exhibition in September so more info to follow) and consists of male bodybuilders trapped in their little boxes, forced to consistently perform their poses for the viewer.

My tutor Alex May (whose software Painting with Light I used for my film above) is also exhibiting:

Another favourite of mine from the online submissions was the one below by Lisa Cianci:

I hope to visit the full exhibition before it finishes on the 28th of July, but lets get this MA show out the way first!

The work of Robert Seidel

As the days scarily pass by, with now only  two weeks to go till my MA show, Sequenced (Private View on the 28th of June at Brighton University) I am naturally procrastinating (I call it research) by means of the internet.

My project consists of projection mapping on to 3 plaster torsos and as nothing is original anymore I wanted to see if there were any examples of this sort of thing already out there.

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Robert Seidel is a Berlin based artist who works with experimental film and is bloody brilliant! The work pictured above is entitled folds and uses projections to highlight the history of plaster casts and to bring them alive. The piece was created for the Lindenau Museum in Altenburg, Germany. The continuous replication of these Grecian statues lends to the fact that even when they are missing limbs and broken, they are still completely recognisable. Seidel talks about the way in which moving image can make a static object come alive. These are all things I am working towards in my own practice.

Kinetica Art Fair, London 2013

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This was a couple of months back now but due to the stress and commitments involved with writing a thesis I haven’t had a chance to write about the Kinetica Art Fair yet.

I attended the fair in 2012 as a volunteer and really enjoyed the atmosphere and talking to the various makers and creators of the different kinetic and digital artworks. However this year there was a distinct change to the feel of the event, which I feel had something to do with the presence of prices alongside all the works and the introduction of an auction.

As an artist myself I understand the importance of being able to sell and market your artwork, and yet this consumer element did take away the approachability of some of the exhibitors and seemed to turn the fair from a showcase of great works and ideas to a market place.

My favourite work of the fair was by Krzysztof Jagieło. The piece, called Destrukt, demonstrates the breakdown of social constructs via the destruction of an object being burnt. An animation of a table and chairs interacts with the burning object, with the levels of light and dark as the object disintegrates affecting the formation of the table and chairs. The table and chairs set up represents the formations of society and in my opinion domesticity and order. The process depends on the way in which the initial object is burning, so each time the destruction of this social formation will be different. As the destruction of the burning object escalates, the chaos is represented by the increase in the movement of the domestic scene. This work seems particularly poignant currently as large majority of the world is in a state of flux and upheaval, with literal manifestations of this piece of work taking the form of events such as the London riots.

The film below shows the work in action and gives a better description of the technology behind the work:

Highlights also included:

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Angel by Chris Levine consisted of a horizontal line of small green lights, which when you moved your head quickly to the left or the right, the above image could be seen. The work deals with ideas of visual perception.

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Roseline de Thelin’s light sculpture Columba, created out of cut fibreglass strands, reminds me of some kind of portal or science fiction tele porter, or perhaps even a tube in which the being has been trapped and frozen.

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Using a zoetrope technique and strobe lighting this work (not sure who it was by!) played with the way in which our mind perceives movement and fills in gaps to see things in sequence. There was also an even larger version of this type of work by the artist Gregory Barsmian. There is a brilliant visual of the work in action on his website so do check it out.flower

Alistair Burleigh’s Versus, deals with the connection between natural and virtual worlds. The work uses 360 projection mapping, glass resin sculptures and LEDs.

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Work by Jonty Hurwitz, is described as modern day trompe l’oeil, playing with the boundaries between illusion and reality.

The fair was very inspirational, regardless of the shift in atmosphere this year and I would thoroughly recommend to anyone who will be in London in March next year to check the new batch of kinetic artists and art works.

Images courtesy of Gary Slackjaw.

The Sketchbook Project 2013

At the beginning of this year I sent my little sketchbook off to New York as part of the sketchbook project.

The Sketchbook Project is a global, crowd-sourced art project and interactive, traveling exhibition of handmade books. Basically you send off for a book and can fill it however you so wish, then return it to The Brooklyn Art Library and they take the books completed each year on a tour around America in their mobile library van!

I started using the sketchbook as an ideas base for the Cubicle Creations project, and really enjoyed playing with collage and my theme of hyper-masculinity without the pressure of it being marked for academic purposes or anything like that. It is also nice to receive emails from different cities along the tour saying someone has viewed your sketchbook. I really like the fact the my little book is travelling to places that I have never been before!

I had also wanted to attach sound modules to the book, like the ones you get in cards that play you a tune, in order to have the pages grunting as you opened them. However I was a bit concerned about the book getting through customs, so that’s another idea to approach at a later date!

The Sketchbook Project 2013 from Jennifer Milarski on Vimeo.

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Charles Atlas: Glacier at Bloomberg SPACE, London

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Located on Finsbury Square, Central London, Bloomberg SPACE’s current exhibition is a collaboration between the video artist and director Charles Atlas, the South London Gallery and Bloomberg SPACE.

Within this busy district of London the space is a welcome retreat and offers a portal like experience as you enter through layers of curtain and are thrust in to Atlas’ 360 degree multi channel video installation. The height of the ceilings and therefore the projected films are impressive and lend to a completely immersive feel.

 

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For Glacier, 2013, Atlas has used footage from the Bloomberg digital archives and stock and found footage from other sources. The clear division of these different visuals is made all the more disorientating by the constant movement of them around the room. Using striking visuals such as underwater scenes, giant faces that look like they are from a commercial, a frantic looking eye and larger than life cows the space is transformed in to a cage which traps the shrunken audience members within its continuous loop. There is a brief respite from the moving images when the entire space fades to black, this is preceded by the whole room being enveloped with a projection of what it looks like outside the gallery when the windows are not blacked out. It is a if the viewer has been placed within a box which allows them to see it out but others to be unable to see in. The repetition of passers by walking around the walls of the room gives a groundhog day, claustrophobic feel. The use of sound within the space is also eerie as a continuous droning noise scores the visuals.

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The exhibition is on until the 30th of March and I would encourage anyone who visits to go at a less busy time, I attended roughly an hour before closing and there was no one else in the space. This added to the immersive, other worldly sensation of the work.

In the lead up to our final show for the Digital Media Arts Masters that I am currently undertaking, this immersive and engrossing feel is exactly the sort of thing I want to achieve in my own work. I will update my progress over the next two months!

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Collect. Convert. Converge.

Extremely belated video of an exhibition myself and Jo Knell put on as part of the Brighton Digital Festival http://2012.brightondigitalfestival.co.uk/ at The Globe in Brighton.

Here’s a link to Jo’s blog, which she wrote a lot nearer to the event than me doing it 5 months later! It also has links to all of the artists and performers that took part (big thanks to them all).

http://www.jojogingerhead.co.uk/collect-convert-converge-audio-visual-event-for-brighton-digital-festival/

It was great fun putting on an exhibition in a non-conventional ‘white space’ and created a more accessible and relaxed atmosphere within which to experience art.

Jeff Keen Artist’s Sketchbook

Jeff Keen Dreams of The Archduke Sketchbook from Jennifer Milarski on Vimeo.

A film made for the Jeff Keen retrospective, Shoot The Wrx, Artists and Film Maker Jeff Keen, at Brighton Museum.
The film being shown in the gallery is closer to 20 minutes long but this version has been sped up to give a taste of what is inside.
Copyright belongs to The Jeff Keen Estate and Brighton & Hove Museum and Art Gallery.
The film was produced by Jennifer Milarski, with the help of Anne Nielsen.

Cubicle Creations at Wahoo West Beach Brighton

Cubicle-Creations

To explain: below is what was written about the Cubicle Creations project in SQ Magazine  http://sqmagazine.co.uk/

”Wahoo Brighton have scoured the region for 15 local artists to create artistic concepts for each of their toilet cubicles with £500 going to the best one. Want to know more?

Well, for the past few months, a swathe of local artists have applied and been whittled down to just 15 lucky entrants, who have been hand-picked to work throughout November and get their chance to showcase their talents to Brighton’s nightlife.

The project deadline has now hit – and the unveiling and judging will take place at Brighton’s First “Burn Your Dregs”, a night designed for Writers and Artists to get together and make something good.

All this and a live DJ thrown in too, Jakub Machal Mancal. West Street is getting cultured!”

So I saw the flyer for this in Clarkes Stationers in Brighton and decided to apply, and I was lucky enough to be accepted! Wahey/Wahoo!

As I am a digital artist and have a background in fine art, I was excited at the prospect of creating some work which got me away from the computer screen and coding! I was also really looking forward to having the free reign to do what I ever I wanted in that amount of space and without constrictions.

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Here is the first wall done!

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The tiles were made up of two designs I made then photocopied and mirrored to connect to each other.

The themes I am normally drawn to in my work are issues around gender and gender representation. With Polish heritage I often also incorporate folk art traditions, motifs and patterns, this also relates to my experiences of the clear gender roles in Eastern Europe and the folk art motifs are a nod toward this in my work.

For cubicle creations I wanted to create something that addressed the way in which women are used for advertising and on posters in toilets, the fact that these are always visually appealing or model like women. To counter act this bombarding of female ‘perfectionist’ imagery I wanted to give balance to this by having a cubicle with visually appealing, hyper masculine men in. I disembodied the images of the men to de humanize them and make them purely into representations of fleshy supposed attractiveness. The folk art flowers represent the female form and contrast against the harshness of the headless figures.

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I have included the large figure of Arnold Schwarzenegger on the back of the door in a typical body builder pose, I use his form in much of my work as a sort of muse character. To incorporate a digital aspect I projected his form onto the door in order to paint it. I had also planned to have a small projection on the ceiling of my cubicle, a film which fit in with the style and themes of my cubicle, but disappointingly it didn’t come to fruition.

The front of the door is like a book cover hinting at what is inside.

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I found the work space very calming and due to the size of the cubicle felt like I was in my own little world, stepping out to have a chat and enter another cubicle and world!

The comments of The Mayor of Brighton summed up the experience for me as he said that the project represented the diversity and ‘rock n roll’ persona of Brighton, especially as Wahoo is not necessarily the first place one would think of as hosting art, it symbolized the  open mindedness of the city. I am always interested in changing peoples perception of art, and dislike the idea of people having to walk around a white space, silently contemplating the work. I love it when art is out there in the world for people to experience, with none of the elitist notions attached to it.

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Here is a link to photos of all the toilets and the artists in them!

 https://www.facebook.com/media/set/?set=a.543750652320673.133998.130487940313615&type=1

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Me in my completed toilet!

Reasons to be Creative Conference

At the beginning of this week, Mon, Tues, Weds, I attended a conference held at Brighton Dome as part of Brighton Digital Festival. The reason I was able to attend was due to a friend winning a ticket but then being unable to go. In return for the ticket I sent her sum up emails of the days speakers and I will attach that below in case it is useful to anyone else and it is definately useful for me to have all the relevant links and comments together and not in my appalling primary school child handwriting!

Day 1

Kevin Warwick:
Really interesting cyborg guy who looks very normal but was a pioneer in getting technology implanted into himself, such a copper implant that would act as a keycard when he entered his work building and it opened the doors and lights for him!

He asked at the beginning of the talk if anyone would like to have an implant of some technological extension of their body and asked for a show of hands, I thought I wouldn’t want something, thinking of some kind of Terminator situation but then he mentioned that most of us have our pets micro chipped and that these class II implants are becoming increasingly common with nightclubs even using them so customers don’t have to pay for drinks, just scan their implanted chip, say in their arm, at the bar and their account is charged automatically.

He also spoke about some research he and some of his students are undertaking into sensory substitution, e.g having magnets implanted in the fingertips which vibrate as you get near to objects and having electrodes in the shape of letters placed on the tongue and the shape of the letter gets transmitted to the brain, both would be beneficial to blind people for instance.


http://www.kevinwarwick.com/

http://www.youtube.com/watch?v=JzqssQqUvj4

Relly Annet Barker:
She did a presentation about giving presentations and metioned some interesting things like ‘barcamp’ where first time speakers can go to talk about a chosen subject. This talk was particularly helpful for me as I am, like quite a few people out there, shit scared of public speaking!

She also runs Supernice Studio, which I gather is about helping people to get stuff done and to have the confidence to it, the link below is to a project to help give people a kick up the back side over the next 30 days with regards to web content and there are still a few days left to sign up:

http://supernicestudio.com/30days/

Memo Akten:
Epic visual artist, links will do more justice than words – epic!!!! (This is what I wrote in the email to my friend and it still applies here)

http://www.youtube.com/watch?v=Tv1lrjA9UvA

http://www.youtube.com/watch?v=WcQJAlft1b0

http://www.youtube.com/watch?v=cseTX_rW3uM&feature=list_other&playnext=1&list=SPDC836AFF792C013A

The above video is of the process of making Forms, 2012 and Akten worked with my previously mentioned favourites, Quayola.

http://www.quayola.com/

Stefanie Posavec:
Data Illustrator working with extracting data by hand, e.g. she goes through a book and counts the number of words and sentences and then represents it by hand or using illustrator. She was very apologetic about not knowing how to code and wanting to learn, I also often suffer from this feeling but really I think she has great way of doing things and I agree with her low tech approach. This is something that I will come back to in a separate, future post.

http://www.itsbeenreal.co.uk/

Day 2
Jake Archibald:

He did a talk about the Application Cache for html5, I dutifully sat through the whole talk but had no idea what the hell happened in that hour.
I managed to understand that it was something about making sites useable offline and obviously need to look into this!
Although he is part of the team that set up this site for tracking going to events:
http://lanyrd.com/
Bjarke Myrthu:
He brake danced onto the stage!
He was talking about the fact that people don’t use the internet to mix up genres of use, such as having a film playing with images over the top, he gave some examples:
http://moodstream.gettyimages.com/
http://stormingjuno.com/
He didn’t use this as an example but it’s that same sort of thing, a linkin park video that uses your facebook photo, it’s quite hilarious!
http://lostintheecho.com/
He also is making a website to help people be able to interact all of these mediums, youtube, still photos, sound files, etc together
www.storyplanet.com
Day 3
Gimme 5:
Which is loads of speakers coming on within the hour to talk about what they do or an idea for 5 mins
Will just list the most interesting ones
Luke Whittaker
http://www.stateofplaygames.com/blog/
Adam Onishi
http://www.onishiweb.co.uk/
Pete Hochkin
http://www.headloose.com/
Maikel Sibbald
http://www.yellowbirdsdonthavewingsbuttheyflytomakeyouexperiencea3dreality.com/
Then there was Simon Collison for the whole hour
Talking about less being more when putting out web content
He has a music website which the background images are inspired by found records in the street but then he set up these photos to get the ones he wanted
urgh can’t find the music site but thought it was called ‘rushmore’
here is his personal site:
http://www.colly.com/
He also mentioned that he loves art using found objects and said he likes the idea of ‘using what’s around and making more of what is little’
His twitter is @colly so maybe tweet him a link to foundism?

Foundism is the site of the friend I was emailing, it asks for submissions for found objects:

www.foundism.co.uk
Joel Baumann:
The best speaker of all!
Really funny and so enthusiastic about his work
Used to be part of:
http://www.tomato.co.uk/
Now doing random shit that he wants to do:
http://nnfenren.com/
http://noog.nnfenren.com/
noogs being the worlds first digital collectables!

NOOG #2 from Nnfenren on Vimeo.

Johanna Kollman:

She talked about collaborating and ways of re thinking the way you work.
http://www.slideshare.net/johannakollmann

Carrieres de Lumieres, Les Baux, France aka The most amazing exhibition I have EVER been to!!!

I have just got back from Provence and have to say the highlight, apart from the exquisite wine (I will now only drink clairette de die darling!), was by far a visit to the Carrieres de Lumieres in Les Baux. Luckily my mum had spotted an article in The Observer about the caves and so after convincing my partner to drive the two hours from where we were staying, wiggling up and down mountains, we arrived in, or I should probably say on, Les Baux. The video below shows the location and the stunning projections inside: Carrières de Lumières – Spectacle “Gauguin, Van… by culturespaces

As you will see it is a combination of Van Gogh and Gauguin’s work shown in the context of ‘Painters of Colour’. The soundtrack on the video is also the same as was played within the caves and had been perfectly mixed to convey the emotions through each era of the artist’s work.

The only thing the video doesn’t do justice to is the sheer scale and awe that you get from being in the space, it is literally gigantic and even before you enter the setting and the quarried cliff face is an artwork in itself! The fact that the floor and walls were being used and the way in which the paintings came to life nearly made me have a little cry! It was one of those situations where you wish you had thought of this, had been part of it, but also sheer joy that people in the world are out there creating these sorts of events. As I tend to mention a lot, I am interested in the ways in which digital media can enhance and compliment history and tradition and this was literally the most perfect example I have ever seen of this in action. You could see kids and adults alike with their interest sparked, perhaps much more so than would be the case with a static painting in a formal museum environment.

I should also mention that Jon Cocteau’s Le Testament d’Orphee, which was filmed in the caves in 1959 was also displayed within the caves, projected onto a stone wall, which provided an amazing viewing experience as the texture of the wall made the caves in the film almost 3d! And it was amazing to walk around and imagine the scenes being played out.

I shot quite a lot of film whilst I was out there so expect more from Provence to follow!

Arnie!

A few weeks ago I answered a painting call for submissions, with the image below:

Arnie, 2012

(Apologies for poor quality, I really need to invest in a proper camera!)

It was an interesting experience as I crated the piece for the exhibition, continuing my fixation on bodybuilding and hyper-masculinity. Considering that I had done the exhibition at the Phoenix Gallery a couple of weeks prior to this, it was a bizarre opposite in terms of curatorial input and say. At Phoenix I had been involved from start to finish in everything from curatorial decisions to locking up the gallery. In this instance, at Grey Area, I had absolutely no idea what to expect or what the set up would be.

The freeing feeling of letting your work go out into the world was coupled with a slight fear, mainly in terms of how work could be read when put into a certain context, and weather or not that would represent the work and the artists ideas correctly. But ultimately it was exciting to see the way in which the work had been curated and the way in which the works interacted with each other and the connections that appeared from this situation.

For example in the image below you can see how my work interacts with those around it and conjures up ideas of strength, masculinity and perhaps even political themes.

Eric Knowles talk on Rene Lalique

On Tuesday I attended a talk for the Reigate Antiques Society, given by Eric Knowles (Antiques Roadshow and also Director of Bonham’s Auctioneers) about Rene Lalique, a French Glass Designer and was an innovator of Art Nouveau jewellery and glassware. In the 1920s, he became noted for his work in the Art Deco style. For example the stunning crystal fountain, which had been a feature at the Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris during 1925.

I had very little previous knowledge of Rene Lalique and was quite annoyed at myself that this was the case! My love of Pre-Raphaelite, mythological and romantic imagery instantly attracted me to pieces such as the ones below:

A nymph like woman with opium poppies surrounding her head.

Swallow comb made from African buffalo horn.

Brooch Le Baiser (The Kiss)

MADMA at Phoenix Gallery Brighton

Us members of the MA in Digital Media Arts and Brighton uni had our first joint show last weekend at Phoenix Gallery http://www.phoenixarts.org/

Poster by Ståvros Siåmptånis

http://stavross.com/

Carlos Del Salto made this video which excellently captures the set up and event.

I have also added some images to my flickr page. It was a great experience and a great way to see all of our work in action together. It was also very interesting to see the types of themes and connections that we were able to make between our work by exhibiting together.

Thanks to Phoenix for such a chilled out atmosphere. Although Phoenix is a gallery I was very happy to find that it was not stale in the way ‘white cube’ style galleries are and I feel that exhibiting in a room that you have to work around adds something to the works on show.

Processing stained glass window

We just had another lesson on processing and I was intrigued once again by the possibilties!

Now I am not even purporting to know what I’m doing in processing but here are a few experiments below, I was particularly drawn to the colours and how they made me think of stained glass windows, again drawing on my ideas around how the old and the new can work together or enhance each other.

The Speaking Picture Book

The Speaking Picture Book: A New Picture Book with Characteristic Voices.

I really like the idea of using technology within an object, in this case a book, which wouldn’t normally have these capabilities.

As I mentioned in a previous post I have been thinking of using a motion sensor to change projected images onto a book when the pages are turned. This musical version is something that will have to look into.