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!

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.

 

 

‘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.

Bring Your Own Beamer

For this years Brighton Digital Festival I took part in Bring Your Own Beamer at The Corn Exchange. I was one of about 20 artists who were selected to have fixed installations at the show whilst in the middle of the venue the usual brining of your own beamer took place.

I exhibited my M E N projection mapped project, initially created for my MA show and shown also at my first solo show at Community Arts Centre. I particularly enjoyed displaying this piece in the Regency surroundings of the corn exchange and opted to display the work under the watchful eye of a giant ornate mirror. Mirroring (ha!) the reflective plinths that I used in my first showing of this piece.

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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!!

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.

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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Murder in the Manor – Teaser Trailer

Above is a quick teaser trailer I did for an exciting new project at Preston Manor in Brighton called Murder in the Manor.

Murder in the Manor is an Arts Council funded collaboration between Brighton & Hove’s Royal Pavilion and Museums, the Little Green Pig creative writing group, and the website developer, Say Digital.

Check out the Murder in the Manor website for a 360′ tour of rooms of Preston Manor and to see how the murder mystery unfolds.

Laurent Segretier

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Artist Laurent Segretier, who was recently interviewed by Dazed & Confused Magazine, uses digital media to distort photographs and film footage.

I am particularly interested in the films he made that seem to be using found pornographic footage. I like the idea of showing something provocative but taking away the obviousness of it and the fact that certain things are always recognisable.

He also describes himself as being part of the ‘new media generation‘ in France and as an artist this is a description that perhaps myself and many others will start to adopt.

LUST from segretier laurent on Vimeo.

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!

Milan/Robert Mapplethorpe

On a recent trip to Milan I was lucky enough to visit the Cimitero Monumentale di Milano, quite literally a Cemetery of monumental proportions!

I have always had an obsession with Cemeteries, as Brandon Lee’s character in The Crow says that they are ‘the safest place in the world to be’ due to all the people being dead. And I do find something quite calming about being in a cemetery. This was particularly true when we visited this one in Milan, as we only saw 4 other people whilst we were there, 3 of which were praying at an extravagant family tomb.

To be honest there weren’t any tombs of gravestones that weren’t extravagant, with possibly the most extreme grave having a life size sculpture of The Last Supper atop it.

Below are a few images, more on my flickr account on the right.

Another great day in Milan was spent at the Robert Mapplethorpe Gallery, where the exhibition Perfection in Form was on.

The subject matter immediately caught my attention with slick, muscular male forms and then by the images of Lisa Lyon, a pioneer of female bodybuilding. The thing that struck me about her form was that she was very feminine looking whilst also being very muscular.

Mapplethorpe said of Lisa Lyon ‘I’m looking for the unexpected. I’m looking for things that I have never seen before.’ A feeling that I also got when looking at these images.

The Gallery label went on to say:

Unexpected describes the figure of Lisa Lyon, one of the first women bodybuilders and champion weightlifter. Mappletorpe met her in 1980 and over the next few years he worked with her on a series of portraits and figure studies that led to the publication of the book Lady Lisa Lyon in 1983. These images recall the work of Michelangelo, his vigorous backs and those feminine bodies endowed with handsome masculine musculature. (What a wonderful description!) The physicality of Lisa Lyon is profoundly binary; she embodies both masculine and feminine, force and fragility, which gives the photographer the opportunity to visually subvert our stereotypes.

‘I’m looking for perfection of form. I do it with portraits. I do it with cocks. I do it with flowers. It’s no different from one subject to the next. I am trying to capture what could be a sculpture.’ Robert Mapplethorpe

I think that when I die, I want a life size sculpture of Lisa Lyon on my grave!

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)

Map the Museum

‘What if a map could tell us not just where things are in Brighton & Hove, but also what used to be there? How did a street once look? Who used to live there once? What sort of objects have people found there?’

This looks set to be an interesting project, I’m particularly excited about the open data that will come out of this endeavour .

It’s a great idea to get local knowledge about a city altogether in one place.

To read more, click the link below.

Map the Museum.

The secret areas!

As I have mentioned before I am hoping to make an app for Brighton Museum, which will be able to help show works, such as prints, that cannot be put on display due to fragility or unsuitable conditions.

Last week I took a walk round the Pavilion and was lucky enough to be taken up the main onion dome of The Royal Pavilion. This got me to thinking about the secret areas of the Pavilion that the public don’t normally get to see due to health and safety (the spiral staircase that led upto the onion was leaning in towards the centre and did not feel at all safe, especially for loads of visitors to trapes up and down!) or due to high costs to restore the area to it’s former glory.

This second point to me is unimportant as I found seeing the old graffiti, exposed walls and piled junk to be more exciting than a pristine room, and made me feel like I was doing something I wasn’t supposed to and that not many people have done.

© Graham Spicer

© Graham Spicer

© Graham Spicer

I have always been fascinated by bizarre forgotten buildings, particularly ones that you can imagine were splendid back in the day!

Take for example the Underwater Ballroom of Whitley Park:

http://www.flickr.com/photos/cybergibbons/sets/72057594107271287/with/12862140

There has also recently been an article in The Guardian about a group that explores the abandoned London Underground stations:

http://www.guardian.co.uk/uk/2012/feb/24/london-underground-explorers-security-services?INTCMP=SRCH

Their website has some interesting finds too http://www.silentuk.com/ (The places they have explored are not all in the UK)

Such as an old Stella Artois brewery, in Leuven

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.

Kinetica Art Fair 2012

To explain:

‘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.’

http://www.kinetica-artfair.com/?about_us/art-fair.html

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…….

Uncaged Monkeys; Night of 200 Billion Stars

I attended the above event this week at the Brighton Dome.

As I was quite ill with the flu I was abit apprehensive of a hardcore night of science (I probably would have been regardless of illness). I was pleasantly surprised by the variety of subject matter, personalities and opinions voiced throughout the night.

Most interesting for me was mathematician Simon Singh speaking about the idea of the ‘bible code’, the idea of being able to decifer futuristic events from an ancient Hebrew bible text, and how a professor debunked this idea by showing that you could decifer anything from a long enough text, such as Moby Dick. He also demonstrated an enigma encoding machine, which looks fascinating.

Another interesting, and specifically relevant speak for me was, Adam Rutherford’s homage to the space shuttle programme. He had created a film which incorporated all of the space missions undertaken into one long edited take off. Rutherford described the irony of NASA having such an awful archiving system that all of the footage was still stored on VHS, and as part of his project he helped to digitise the footage.

This was particularly interesting for me as I am currently involved in helping digitise Brighton and Hove Museum’s Oil Painting collections and other collections at the moment. There is something very exciting about knowing you have helped to preserve information from the past in order for it to last longer into the future, and also so that it may reach a wider audience.

 

White Night

http://web.mac.com/annadumitriu/WhiteNight/Home.html

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:

Amiens – Blanche Nuit

I recently visited Amiens, France to help these guys out http://www.themetahub.com/

As part of a group of about 20 people, we filmed events by camera phone or hand held camera, that were happening around the city and then sent the videos, about 30 seconds in length, back to the ‘meta hub’.

The films were then edited by their team and projected onto a many sided cube sculpture, therefore providing a mash up of the night in one place.

By day:

  

And by night:

Here are some examples of other works around the city:

    

  

My favourite piece was the one above on the right.

You had to queue up for about 10 minutes to see the work, which in itself added some atmosphere to the event as all the other pieces you could just stumble across.

Firstly you entered a room which was completely black and then strobe lights began at the opposite end of the room, so people began to walk towards them. You then entered into a second room and the strobes stopped for a few seconds. The lights fully came on and you could see you were in a room, surrounded by life size sculptures of naked men, from the knees up on plinths. Their faces were dripping.

The strobes then started up again at a fast pace and it was hard to walk around without walking into a sculpture or an actual person.

I thought that the whole experience was so immersive for the audience. It was quite a simple idea but it seemed to me to be the most interesting use of digital media of Blanche Nuit. Personally I was terrified by the flashes of the sculptures and it reminded me of Doctor Who, however a lot of the children found it exciting and were peering through the door to see peoples reactions as they were in there.

Recent trip to Warsaw

The Generation in Transition exhibition presents the artworks of a young generation of artists of Indian origin, living and working in India, as well as in America and Europe. It is the first extensive showcase of contemporary art from this region presented in Central Europe in recent years. For about twenty years now, India has been experiencing an enormous economic and technological development, which has had a substantial impact on social structures. This change, with its positive and negative aspects, is frequently reflected in the works of contemporary artists, especially in those of the youngest ones who have grown up in these interesting times of transition.

03.09 – 06.11

I recently attended this exhibition at Zacheta. Particular favourites were this film by Bharat Sikka – The Ceremony.

http://www.mattershow.com/video01.html

On a purely fun level, I enjoyed this piece which was a small house, like a wendy house, but when entered had mirrored walls, floor and ceiling making it seem infinitely large. It was also a great excuse to take some photos.

Also another thing worth mentioning is the epic sculpture/architecture at the back of this building in Old Town.