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.
Preparation begins. Displaying work on table before putting it onto a board. Fellow colleague chatting with MA curators.
Works on board
Works on board.
Works on painted board – recent works and past works.
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
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
Prudence ,2012,Mixed Media,43.5 x 22.5 x 22.5cm, Bedwyr Williams
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.
Seminar today delivered by Artist and lecturer Imogen Stidworthy. Imogen is a multimedia artist based in Liverpool. Her most recent work has been shown at the Thessaloniki Biennale, (2007), Shanghai Biennale (2006).
Imogen talked about how an image is something that you try and grasp but it is always going to be beyond what you put into words. An image can leave you in a suspended state of desire and we can get caught up in it. I felt that this was an important point to make because as artists, we are continuously trying to capture something and more often than not, it is so difficult to explain.
She further discussed that sometimes an artist chooses not to paint or photograph something that shows the viewer exactly what the scene is. They look around the edges to gather information and this can prompt a more powerful response from the viewer. This can also be said for using different scales within work and how the work is presented can have an effect.
I feel that after today , I have been given that buzz that you get from being an artist when your about to start something new and more importantly you want to start to play again and to make work. I guess that’s the most important thing to do for now.
Memories I have of places, (interior and exterior), were a starting point for this work and through experimentation, the final images aim to confirm or destabilise our sense of place. The work reveals a collection of memories, presented as strange places that can be compared to that of an old movie slide show.
House in the woods, Paint on Polaroid, 2015
(Part of a body of work, Recollections)
In Recollections, I have used a restricted and muted palette combined with non-conventional substances, including bleach and furniture wax. The processes used hint at the fragility of memory and acknowledge how thoughts about the past present themselves as flickering snap shots, often hazy, abstract and blurred. Painting on to the image, working into them and using alternative materials creates depictions of shapes and abstract forms thus being another metaphor for memory. There is a presence of something hidden within the work, encouraging the viewer to take a closer look and see the revealing of subtle details. This revealing is our recollections.