I have been helping out with various stages of the exhibition The Hole in Mount Hakone by David Miles at Brighton Museum, and have just produced a short film to promote the opening of the exhibition in the Prints & Drawings Gallery.
There will also be a second film coming out around the 12th of May, which I also produced, combining a David Miles image and a verse from 1847 called Digging in the Glade, so I will post that up here when it has been released.
I have been particularly excited about this project as it seems to me to be the most true to life way of how an artists creates work. Miles has selected works in the collection at Brighton Museum and created a narrative around them and his own work in response. In my own studio I have a wall of inspirational images, as do the majority of artists, and often my work incapsulates different aspects of them and I always draw upon them for inspiration. Whether you have a pinterest board or collaged wall, a lot of artists will relate to this process, especially as it is important to recognise the old in order to create something new.
A few weeks ago I answered a painting call for submissions, with the image below:
(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.
‘Kinetica Art Fair is a yearly event produced by Kinetica Museum. It brings together galleries, art organisations and curatorial groups from around the world who focus on universal concepts and evolutionary processes though the convergence of kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology.’
I attended this years Art fair as a volunteer on the Intuition and Ingenuity exhibition stand, which consisted of art inspired by computer pioneer Alan Turing, celebrating the 100th anniversary of his birth. The exhibition will shortly be at Lighthouse in Brighton, so I will save mentioning this further until a later date.
There was a vast array of works on display from Tim Lewis’ animatronic works (below), which consisted of freakishly concocted creatures that jolted and strutted around, to moving images, such as Sandra Crisp’s (http://sandracrispart.com/) film Oceanic, which explored 3D layers of the environment (2nd below).
Some of my particular favourites were:
Andras Mengyan http://www.andrasmengyan.com/ who is a Hungarian artist working with concerns around simultaneous perception. He was using lasers and animation, combined with a special liquid that he had developed with chemist to create his desired effect.
Sophie Cullinan’s installation was both provocative and yet innocent. Her sock paintings consisted of used socks that could be pumped up by various pumps, such as bike pumps or balloon pumps that had been painted an pink, udder type colour, to eventually inflate and look rather nipple like. Her blow up doll piece, Worn, again conjures up ideas of blow up sexual aids for me, even though there is something quite frumpy and childish about her patchwork exterior. Cullinan describes Worn as a ‘domestic machine’ on her website, I also agree that the idea of a woman made out of worn fabric who is continuously at work, work which is dictated by the viewer who has to press a button to make her inflate, is deeply symbolic of a woman’s struggle and of having to work under the ‘gaze’ of others. there is also something unnerving about the industrial hoover sound for the inflation.
Another film that enjoyed was a short film by Laura Jean Healey called The Siren described as:
‘The Siren is an exploration of the notion of the Other. It explores the nature of the feminine mystic within the screen and the seemingly active male gaze. The Siren, both alluring and terrifying, embodies the duel nature of all women throughout time and confronts the audience, asking if ‘I do not exist in my own right. If I am merely a symptom of male desire, then ‘what am I?’’
Lastly Nichola Rae (http://www.a2arts.co.uk/) had a projection of sonic frequencies that would interact and change pattern when a guitar was strummed or a mic sung into that were connected to it:
All in all it was a very inspiring day and I would strongly recommend next years fair to anyone interested in art/science/electronics/computing/pretty things etc…….
For White Night in Brighton I was invigilating Alex May’s work at the Phoenix Gallery. The exhibition, titled Like Shadows: A Celebration of Shyness, was exploring ideas of participant interactivity and the different levels of participation people are willing to get involved in.
Interestingly enough I agreed to invigilating when slightly tipsy, and when I actually thought about it, I was nervous that I would be expected to force people to interact and generally be a pushy invigilator. Luckily this was not the case. Alex’s work, was a kinect sensor which sensed the persons shape and projected it as a colour onto the wall, with a dripping paint effect, the shape became more solid the longer that the person stood there.
It was a contemplative piece of work, which gave the viewer a chance to stop and and see the work take shape right in front of their eyes. It was quite a romantic piece of work with sad, solo silhouettes being joined by others as time went on, only to drip away and leave a smudge as the only trace that anyone had been there.
As the night went on, and the drinks flowed, it was amusing to see people come in and run in front of the sensor expecting an immediate result. At one point we also spelt out YMCA……..
I have been thinking of using PIR (Passive Infrared) sensors for a future project, where I plan to project images onto a photo album and have the images change when the pages are turned, this is the photo album: