MA Fine Art Exhibition Part II process and reflection- 23rd January, 2017


Very helpful talk and advice from tutor Chris Evans . He felt the work was strong but the polaroid’s needed to be in a separate space and the work on the floor also needed to be separate. He suggested I take the Polaroid’s off the wall and think about displaying the work in a different way. Chris reminded me that its important to get away from displaying work (at MA standard), that would be suitable for undergraduate level or to sell at a café.  He liked the fact that the support for the work echoed past and memory and suggested I created a landscape of such with my images peeping out of the top. This was a difficult process because I wanted to put more work up. I was reminded to have conviction about what I’m trying to get across. And then, I saw it.. the images I create become part of a landscape , saturated with memories. We walk past rusted supports, battered gates and weathered walls everyday ….. and so …. Walk with Me begins ……



Walk with Me, 2017 Mikki Gleave

I am inspired and although I am aware this is still very much a work in progress, I have ideas. I want to create a landscape of weathered supports (perhaps faintly marked in  graffiti, thus adding another mark of memory) and present my distorted images almost peeping out of the top- an alleyway of images .

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MA Fine Art Exhibition preparation . January 17th 2017.

All works were removed from the board. I had an interesting discussion with MA tutor, Imogen who reminded me about the images being traces and that it is important not to lose that reason through presentation . We talked about memory and how easily memory can be erased. Imogen advised me to research ancient Greeks and memory.

The polaroid’s definitely work better on their own presented as a landscape and by seeing them again presented in a different way , I am refreshed and ready to experiment further. I’m considering taking polaroid’s of my work so that they exist as a place I have created,presented as a photograph. My other pieces of work were put on a piece of thick grey underlay, ripped and marked. This seemed to tie the pieces together. The support becomes a part of the work, capturing the traces within.


Mikki Gleave ,2017 – Work in progress – Exhibition part I




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MA Fine Art 16th January 2017 Group Critique.

Group critique today. very useful feedback- although I must say it gets confusing when your own work is thoroughly critiqued and other works are simply left to think about whether its art or not. Perhaps its all part of the process!  It’s most certainly challenging and without a doubt, pushing me out of my comfort zone.

A curator was involved in the critique and was particularly encouraging. After much critiquing, I agreed with fellow artists and felt that the work on the board looked too much like a display and the polaroid’s looked lost. It was agreed by all that they would work better on their own.OLYMPUS DIGITAL CAMERA

Preparation begins. Displaying work on table before putting it onto a board. Fellow colleague chatting with MA curators.

Works on painted board – recent works and past works.

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MA Fine Art Exhibition Part I January 2017

At present I am continuing to work onto the surface of materials thus creating distorted images, symbolic of memories that often resurface as the uncanny. Recent research highlighted that the uncanny doesn’t have to be presented as a frightening image as it can manifest itself in different ways. The uncanny can present itself through repressed memories and dreams. We all have memories of places whether they exist or not but it is important to understand that memories create feelings. Memories are hazy, distorted fragments within our minds and this is the dialogue of work I am trying to create.

On the 9th and 10th of January the MA group talked about the exhibition to be curated by ourselves. We discussed ways in which we could present our work and at that time my thoughts focused on presenting my work on a board and looking at how that would work as a finished piece. The group decided that the exhibition would be named Plug and Fiddle



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Recollections to be continued ……..


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Ma Fine Art, 31st October ,2016. Tutorial at the Tate Liverpool.

Its not often, in my opinion that you get to have a tutorial within an Art gallery . Today was a strong reminder that I am an artist, and although it is difficult to get back into the swing of things, particularly when you work , it only takes a discussion about your area of interest within contemporary art and more importantly, where your practice fits in order to ignite those feelings again. Recollections is a series of work created onto polaroid images and other surfaces  and depicts the fragmentation of memory whilst revealing the strange and uncanny. Elaboration of this work is where my practice will develop further. Todays feedback about my work strongly prompts me to continue with this theme and style. I aim to develop my practice by  experimenting with different scales and materials, using photography as a point of departure. Further work will perhaps involve constructing models to represent repressed memories, returning in the form of the strange. It may also be worth considering developing different works that will go towards an installation within a gallery space.


Mikki Gleave.One flew over, Recollections, 2015


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MA Fine Art. October 24th. Lecture by Artist Bedwyr Williams.


Prudence ,2012,Mixed Media,43.5 x 22.5 x 22.5cm, Bedwyr Williams


Frieze Atr Fair, Regent's Park London. 
Photo by Linda Nylind. 11/10/2012.

Bedwyr Williams, Curator Cadaver Cake, 2012. Performance at Frieze Art Fair for Grizedale Arts. Copyright the artist.


Bedwyr Williams work combines installation and humour. The above images, Prudence and Curator Cadaver Cake are reminders of the cold disposition some curators have and Williams reminds us, that occasionally, curators are often under the impression that they are the most important feature of the gallery. Prudence, presents a head with a pristine bob and yet the face is blank, without expression. According to Williams , this is the greeting one may receive when they go to particular openings of shows etc.  Williams is the “butcher” in performance piece, Curator Cadaver Cake and the audience are invited to eat pieces from the body .Once again, he uses dark humour to point out that he is perhaps “getting his own back” on experiences he has had with curatorial figures.


Williams displays his strong opinions in the lecture and argues that there are passive aggressive painters in the art world who want to show images of their cats or dogs in the Tate. He states, “these people are not going to get their work into the Tate or Frieze Art Fair”. He goes on to say that he has friends that paint straightforward portraits, and although he isn’t putting their talent of observational drawing down, he feels that they get very angry with the world in general. Perhaps, they aren’t expressing themselves enough and making that leap into the unknown, thus becoming stagnant and frustrated.

During the lecture, he mentions that “golf is an excuse for men to dress up as pimps” and this is another reminder that some people are false, removed from reality into a secluded narrow minded world , thinking they are better than everyone else. They have an arrogance about them that presents itself for example, like Prudence. I have to say that the more I digested what he was saying, the more I agree.  I will never look at a golfer again without smiling.

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