Work in progress… 06/19
Collectivism residency, haarlem art space 05/19
‘A week spent demystifying collaborative process through debate and shared thought, reconsidering rural contemporary arts and the experiences of resilience through collectivism.’
The residency was incredibly inspiring, it felt super relaxed and informative, to not have the pressure to come up with work as an ‘end product’, but to have the option, should something emerge. In between meeting like minded people and sitting in the sunshine scoffing delicious food, there were workshops that involved fish bowl dialogue / conversations and writing experiments.. Throughout the week, artists, studio holders and organisers worked together to facilitate community meals, taking time to be collective and resilient, in the respect of forming a positive, nurturing group dynamic while continually considering these new unfamiliar surroundings and observing and sinking into this new way of working. The residency culminated with a thought provoking conference at the end of the week that consisted of workshops from Lottie Randomly (On Resilience) and Paul Steele, (Theory of Change) spoken word from Jamie Thrasivoulou and an insight into the creative projects of Instituto Procomum, Santos, Brazil.
Nestled amongst these loose discussions and meetings of minds, I found myself, once again quietly pondering time theories, on this occasion Growing Block Universe* and Block Universe** - *where the past and present exist while the future does not. The present is an objective property, to be compared with a moving spotlight. As time passes, more of the world comes into being; therefore, the block universe is said to be growing. Or, alternatively, **the past, present and future all exist, at once. I could imagine looking down on a map and seeing the car move along the roads. For once, I found that I was able to not worry too much about scientific jargon or lack of knowledge. I was able to use the space to physically express my thoughts, as a sort of imaginary time line of wire and paper and narrative, that works in past, present and future possibilities. I found myself drawn to a crumbling corner of the room, where sounds from workmen outside inspired snippets of stories that intertwined with my surroundings and from there I began to unweave. I think contemplating collectivism in this way has really effected how I look at these theories, giving me a kind of clarity to just take out the complexity of the question, and leave the simplicity of perspective and physical movement, the tangible and the intangible.
https://www.instagram.com/rosiereedgoldartist/ • https://www.instagram.com/adameastlondon/ • http://www.karenlogan.com/ • https://www.instagram.com/anna.mawby/ • https://linktr.ee/arit_emmanuela • https://www.emmareynard.com/ • https://www.instagram.com/hayleighlongman/ • https://www.instagram.com/jennybramley2/ • https://twitter.com/pennyanewell • https://www.instagram.com/procomum/
TBA Artist collective : Occupation, 04/19
Group exhibition with Norwich collective, TBA. I decided to use the theme ‘Occupation’ with the idea of something staying, or lingering. Physical objects on a museum shelf, or memories, thoughts that hang about, even when you don’t want them to. I produced a new body of work that combined ceramics and mixed media, treasures that would adorn the crumbling surfaces of the Shoe Factory Social Club, spraying out like a shrine. A look at how we feel the need to collect, and keep, like we are somehow urged to have something other than ourselves or our loved ones to be complete. Or to be safe.
tr.v. oc·cu·pied, oc·cu·py·ing, oc·cu·pies
1.Reside or have ones place of business.
i. ‘A thick tangle of weeds spent some time there, soaking up the sun and drinking down the rain.’
ii. ‘Sir Lancasters’ brain has remained motionless and without thought in a glass jar for over 200 years and now shares a shelf with a two headed cat and a letter from Pablo Escobar in the Victor Wynd Museum of Curriosities, where time stays still for inquisitive eyes.
2. Fill or occupy the mind.
i. ‘Her mind was occupied with alarming questions.’
The occupation of transience and object hold equal importance. A physical treasure can occupy a number of different spaces and see many lifetimes pass, and a thought or feeling can be held onto and transformed into energy that can pass down through generations.”
Artful dodgers events - KIDS RAVE ON
Artful Dodgers came about around 2017, a bunch of long time mates and little ones, having spent many years raving it up at festivals, we decided to keep the party going by passing the baton down to the next generation, and we really pull out all the stops, camo netting, disco balls, UV corner, face painting, art station, tuck shop. We really don’t see the point in doing it if its not mind blowing! And the feedback so far has been just that. There has been a recent rise of kids raves which just goes to show how relevant rave culture is. It’s nice to be able to change attitudes a little bit. Nothing but positive vibes and big silly smiles, happy beats and glitter for weeks and weeks!
Check out what we do: https://www.instagram.com/artfuldodgersevents/
Unfold arts, 10/18 - 04/19
Unfold Arts was a Derby city centre grass roots art space focusing on the development of creative projects through collaboration and conversation, lead by myself and fellow artist Stevie Davies. Over the course of approx 6 months we facilitated an open exhibition, participatory workshops and drop in events such as my very popular ‘Valentines Shadow Drawing Night.’ which offered an alternative to the predictable flowers and a meal show down. We had couples, friends, and in particular, feedback from singletons was that it was nice to be able to enjoy the day without feeling like they were being left out of some big thing.
artcore / derby museums residency, 04/17
My work with ceramics began in April 2017, when I produced a fresh new body of work during my residency with Artcore in Derby. In the space of 1 month, I completely transformed my whole approach. Drawing inspiration from Derby Museums collection, I found myself intrigued by a pair of penguins, brought back from the famous ill fated expedition to Antarctica in 1910. I then went on to create 100+ tiny ceramic penguins that would hang in the museum, swimming in various captured movements.
The residency culminated with 100+ small (2-3”) ceramic penguins that were displayed in the museum as if flying through the gallery space. Lush in colour and pattern with delicate messages flowing across their form, highlighting the current struggle with global warming.
Alongside this piece of work, I created a cheeky intervention that found its way into the Ceramic collection, in a Night at the Museum style, ‘you’re not meant to be in there,’ ceramic busts and cheeky narrative that engaged audiences in new ways. Feedback for this was really positive, it really highlighted a need for new approached when connecting exhibits withe the public.