Carali McCall

We met Carali at Central St Martins School of art on 16^th 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.

Here is a short audio sample of some of the studio visit:

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.

Paul Carr

The Fifth Runway poster (2nd broadcast) - 2010

The Soul Bellows CD publication - 2008

GB STEAM TRAINS LIVE at the Bull's Head poster - 2007

GB STEAM TRAINS 'For Sale' Promo CD publication - 2007

Paul Carr (pictured centrefold right) and Steven Lowery (pictured centrefold left) are GB STEAM TRAINS. Pictured with the GB STEAM TRAINS; Bruce McLean.

The Carr Radio 2009 box set CDs - 2009

by The Carr Radio Executive Design Team; Jenna Collins, Eddie Farrell, Katharine Eastman, Chris Scobie, Paul Carr and Steven Lowery.

The Barnes Bun Architecture Biennale 'Running Order' - 2005
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.

http://www.buildmusic.blogspot.com/

Amanda Francis

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.

www.blackstudioart.blogspot.com

Images

1. Untitled Black Series (installation view) Ink, Paper, steel, Perspex,

2 - 4. Untitled Black Series (Details)

Paul Burgess

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. 

Jaye Ho

Here are three photos of pill box bunkers in Surrey with fireworks being set off inside the structure. I like the fact that fireworks give off the same effect as military weaponry, as well as being very decorative and frivolous. I also like the idea of the bunker being a target as opposed to being a safe haven. This idea links in with my Nesst installation in Krakow, where the video projector shoots light out of one of the gun emplacement slits. This was a collaboration with Mordant Music, where MisinforMation, Ian's commission for the BFI was projected onto a screen at the opposite end of the room. As this is a finished piece you can see more images on my website www.jayeho.com

Lastly there is a photo of my back garden during fireworks night. Nothing is set up (apart from the pumpkin) and I like this image because I realize how quirky my back garden must look to other people. It looks very much like a stage set. I took this photo right after the fireworks had gone off, hence the smoke inside the shed (which is my studio).

Images
1. Pillbox bunker fireworks no 1, 2, and 3
2. The Nesst, The Hidden at Unsound Festival Krakow
3. Fireworks night in my back garden

Günther Herbst

My paintings until recently were a series of work based on homeless shelters that I had been photographing over a number of years. The materials and fibers that made up these shelters, and the way they were at odds with the surrounding architecture or immediate environment was the starting point for a series of work that soon departed from the premise of ‘studies’. I appropriated a language of history and contemporary painting practices and used these as a transparent medium in order to comment on the subject matter from a different perspective.

I am in a transition phase at the moment having stripped the work back to purely formal painting issues. The work still has its origin in photography. Within these images I look for grids and patterns, which remind me of the work of other artists. My work has long been concerned with converging a number of different types of space into a single act. It has always been connected with the public arena, or 'social space', specifically that of the violence enacted in public, urban space as both a place of global arrival and terminal resort of the dispossessed. My work focuses on the painterly, two-dimensional space of the canvas as an arena of art-historical techniques and possibilities.

Paintings:

Waterloo Rd. 3 Red Blue White Grey 2009 Oil on canvas 100 x 130 cm

Tottenham Court Rd. 3 Black Blue Red 2009 Acrylic and oil on board 30 x 22 cm

Tottenham Court Rd. 5 Yellow Red Blue Grey 2009 Acrylic and oil on board 50 x 64.5 cm

Waterloo Rd. 4 Red Blue 2010 Acrylic on paper 19 x 25.5 cm

Work in progress New Oxford St. 3 Red White Blue Yellow Black 2010 Oil and acrylic on board 47.5 x 69.5 cm

 

Sam Basu

Treignac Projet 2010 Archive. 

1. International Cabaret Cycle. 

2. July Video Coalition. 

3. New International School evolution. 

4. Projects October 2010

Technique and material:
A4, paper mounted on card. Some with folds to give shallow depth, some direct onto card. Hand tracing of printout through carbon paper of groups and individual names.
Notes:
The diagrams represent real groups that I have been involved in creating or work with through the artist run project Treignac Projet. I am not presenting the formations of the groups as my work; this leads to too many problems in relation to the other people involved in the collaborations. Instead, I was thinking of them as an archive of the evolving groups, and as a file record. (Four simple ones like the 3rd image down, were used as secondary gallery commentary (and not as official art ) in a show that work from some of these groups was shown in. )
I think they have the quality of sketches and notes, perhaps there is something educational about them, perhaps a little sci-fi?