Tuesday, 17 January 2012
Wednesday, 6 July 2011
I discovered that Rose works obsessively, she said 'I am obsessed with my work... it's a take over' and that is clearly evident when talking to her, and looking around in her studio.
At the moment every spare space in the cottage is filled with stretched canvasses ready to ship out to exhibitions around the world, due to ever more recent interest in her work.
Rose mentioned that previously she was only known as 'an artist's wife' and not as artist in her own right. Although she has always kept up her practice over the years whilst bringing up children, it is only since they have grown up that she has been able to devote herself to her work and let it 'take over'.
The world is now waking up to this intense celebration of expressive, dramatic, playful work that has a brilliant lightness of touch, containing everyday observances form life as well as art historical references, ancient religious symbolism and scenarios from current affairs and film.
She talked about growing up in an era where 'blokey artists' were taken too seriously and were over sincere about their practice. She liked a bit of 'light' and humour plays an important part in her work.
Rose also hates preciousness, and she can't be accused of that herself, she stands on her work and some of her paintings are embedded with her own footprints.
Sunday, 5 June 2011
I invited 2 friends to collaborate with me towards a group show which would take place in my living room. We had the space, and we were curious about testing artwork against a living space. How does artwork stand in a 'real' context, outside of the rarefied atmosphere of the white cube/artists' studio (which is designed with the white cube in mind)/industrial warehouse (whose grime and cables have become invisible, a new exhibition convention)? What is it that distinguishes artwork from tailored design? How might daily experiences be modified by taking place in an art work? These are some of the questions that we were trying to address.
We gave ourselves a week to come up with an intervention that would culminate in one showing, one vernissage event. As such, the art interventions were designed as a context to this event: I made some wall paintings, a table arrangement and some low stools, Sylvain hung some handprinted T-shirts and Annabela contributed a very discreet postcard. People came over. We had some drinks, some food. We talked until late.
Friday, 4 March 2011
We met Carali at Central St Martins School of art on 16th march 2011. The visiting group included Jaye Ho, Jaquie Utley, Jim Hobbs and Louise Colbourne.
Carali opened the talk with a performance. In pitch darkness we could hear a recording of Carali’s heart beat, as well as the live sound of Carali breathing deeply and steadily throughout, the performance lasted about 10 minutes. Carali also showed us video documentation of two performances of her running in difficult locations and extreme weather conditions. The out-come was in the form of footage from a camera which was strapped to Carali’s chest whilst she ran.
We then talked about the presentation of performance art and the authenticity of experience for the artist as well as the negation of the visual experience for the audience, amongst many other things....
Some of Carali’s thoughts after the visit were:
- Using sound and darkness - the body tries to measure the distance, type of space the body is in, and feels vulnerable.
- Communication between us = relates to our past experience.
- Where's the work going? ...trying to find ways to make a bodily presence with no visual.
- Movement and sound of the live body to make embodied artworks.
- Using actions that have a breaking point. The journey of the unexpected.
Carali McCall is an artist born in Canada, now living in London. She graduated from the Slade School of Art in 2006 with an MFA in sculpture, and is currently pursuing a practice-based PhD at Central Saint Martins, UAL on a research project titled ‘Marking Process: A Hybrid Model Between Drawing and Performance.’ Her practice explores an approach to drawing through duration and movement that tests the boundaries of her body. She works within a performative context developing an area concerned with expenditure, transmission and the reception. Operating in a field that draws from phenomenology, her practice discusses the extensions of the body and it's experience to time, questioning what constitutes marking as a drawing, and how does the ‘materiality’ of the body exist beyond its limits. In recent events, she has worked alongside other artists to perform long durational drawings, identifying a practice that responds, traces and records moving and marking as process. Some examples are drawing continuously with graphite for 3 hrs the diameter of her arm, or documenting the expenditure of running a marathon through the breath.
Sunday, 6 February 2011
Paul Carr (pictured left) and Patrick Loan (pictured right) are the Ketchup Boys. The BBAB was initiated and coordinated by The KB, Bruce McLean, and Jim Moyes.
Friday, 7 January 2011
My work is always shifting and I have learnt to embrace these changes as part of its ‘being’ in the world. The subject has morphed from a preoccupation with identity to musings on community and belonging. In many ways the current shift (which on the surface looks unrelated) tries to make sense of these previous concerns by thinking about them abstractly.
One realisation was the continuous nature of the identification process itself, and in turn the instability of the structures formed by these fluid entities. This inevitably produces new constellations, new forms which all require effort to nurture and understand.
Starting on a micro level and in the spirit of science, I’m considering ‘Black’ as a cultural construct abstracted from its source; constantly evolving in relation to new temporal and environmental conditions.
1. Untitled Black Series (installation view) Ink, Paper, steel, Perspex,
2 - 4. Untitled Black Series (Details)
Friday, 10 December 2010
I am primarily an illustrator and art educator. Recently my work has been going through a transitional stage towards more freedom of form and function. I work with collage and use often nostalgic imagery to create portraiture with a contemporary edge. This new work contains more of a dark parody and effacement of the subject.