I am fascinated with objects, things, stuff. I love the stuff that we are surrounded by. I find our relationship to stuff fascinating, whether it be real stuff, solid stuff, ethereal stuff, ancient stuff, virtual stuff or digital stuff.
'The Projected Kitchen' an exhibition of recent work by Rosemary Terry, one of the fine art tutors at Wolverhampton, currently on show at the Wolverhampton Art Gallery, is about our relationship with real stuff. It challenges our perceptions of real stuff. Specifically, it challenges perceptions of ordinary domestic objects through the manipulation of material and size.
The pieces in the exhibition lie somewhere between dimensions - not quite completely 3D, but also not 2D. The works also sit between media - not quite drawing, but also not quite sculpture. The objects, spoons, pots, cups, pans, are carved out of wood. They loom huge, much larger than their originals, and are placed seemingly randomly around the gallery space either on the walls or on rustic shelves.
Walking around the objects I felt a strange sense of my shifting perception. Front on, they seemed significant and solid, side on, they shrank and thinned, losing their sense of importance. I was reminded of scenery on a stage. Front on, they sat majestically about the room, willing me to examine them closely: the texture, the ripples of the wood, and the shadows cast by the sculptural element of the objects. Side on, they looked the other way.
I found the objects quite absorbing and thought-provoking.
The exhibition runs until 12 Feb.
Last week was assessment week for me at Wolverhampton so the culmination of the first semester’s work. For the assessment, I was asked to display a piece / body of work that reflected my current 'thinking and understanding'.
During the last semester I had been researching the concept of repetition. Repetition touches many levels of existence. It can be a comfort and a disturbance; a compulsion and a revulsion. In Western culture, repetition is traditionally condemned as something parasitic and negative. Absolute originality is honoured over imitation. In my research I had been challenging this notion. Repetition may be the act of creating another and another ad infimum, but out of all of the similarity, something new may emerge. Repetition is not a static process, it is a dynamic one.
It isn’t the act of repetition that is important or even the nature of the repetitious events; it is the effects, or vibrations, of the repetitions. The moments between repetitions and the changes that take place are more interesting than the pieces themselves.
My assessment 'piece' was composed of a number of strands which are all interrelated. The 'piece' I called The Repetition Room.
The aim of The Repetition Room as a whole was to reflect the disordered, infinite nature of the various repetitious acts I’d been engaged in over the last few weeks. I wanted to see if anything of value could be teased out of the chaos. The question I have been asking with this project is: how can I visually capture the ‘sudden illumination of multiplicity’ (Michael Foucault). Gilles Deleuze states that the aim of the artist is to defeat the chaos by setting up a ‘being of the sensory’. I want to know: is that possible here?
Over the semester, every week I had put posters up around the art building. The point of the posters was to challenge people's assumptions about what constitutes art: can a copy of a pre-existing image and text become art? I also wanted to provoke thought about repetition and show how repetition is omnipresent through following various themes with the posters, such as TV, film and consumerism. Finally, I wanted to be an annoyance through the repetitious nature of the posters. The posters covered a wall and a half of The Repetition Room.
I also created what I called a 'repetition board' which was a piece of wood upon which I drew the same image over and over again during my travels around Wolverhampton and my home town, Shrewsbury. This board came with me everywhere and whenever I stopped, I drew. Immediately after each drawing I transcribed my thoughts during the drawing process. I wanted to ask a number of questions: Would the thoughts be related to the drawing? Would the thoughts be repetitive? What does the act of drawing do to the act of thinking? Do they impact each other? Would I become more conscious of my thoughts as I knew I was going to be writing them down? How much of what I wrote down would be genuine, based on memory, and manipulated?
In the centre of The Repetition Room stands a plinth which is covered with doodles about repetition. I had used this plinth as my sketch pad, to note down all my thoughts and ideas over the semester. I took the plinth home over Christmas and obsessively drew on it over the holiday. It interested me exactly how obsessed I became. It was like my drug.
The walls were also adorned with paintings of the same shape on the repetitious board. Again, these were drawn without reference to the original image (a sheep poo photographed on holiday in Wales), using colours as I found them.
The final element of the room was copies of 'nothing', i.e. holes in the wall. If you can replicate nothing, does nothing exist? Are my copies the positive of the negative? Is there something interesting about the repetition of a void?
In the room, which creates an immersive experience of repetition, I wanted to express the chaos and the rhizomic nature of repetition. The only way I could see to do this, was to saturate the environment with all of my current creative output.
If the aim of art is to find focus in the chaos or rip the fabric of ordinary existence with a ‘genuine encounter’, then I feel that I have been unable to do this so far within this project. I can, at this point, I decided, only reflect the chaos and omnipresence of repetition and hope to convey something of that to the viewer.
There is also a blog for the #FreeRepublicofRepetition: www.freerepublicoforepetition.com.
Our work 'Reveillez! Wake Up!' has been included in the 'Open Exhibition - Second Look Festival of Photography 2017', in Bristol from 23rd February to 1st March. The exhibition is based on the theme of 'change'. Here is a link...
Well I've been mould making and seem to be having little sucess, have now made some new illustrater files for lazer cutting which should iorn out the wrinkles, we shall see.
As for the Happy new year, may you all be fabulous.
SHAMBLES an-artist-led exhibition highlighting the need for artists to gain space to showcase their work. Titled site-specifically we propose to use the old slaughterhouse in Royal William Yard, Plymouth. Shambles (a butchers slaughterhouse) will now be taken over by a group of local artists for the local community.
Myself and other AA2A residency holders (Andrew Meredith and Llyr Davies) at Plymouth Univeristy have been working to organise this project, we are finalising ideas and plans for the pop-up exhibiton running from the 26th of Jan for a week end date TBC.
Watch this space...
Packing up for Christmas after a term with Plymouth University. We have been lucky to able to use the studio, a place for me to paint and create a couple of paintings. Importantly it's been a great chance to speak to students, get involved in group crits and share my knowledge.
Next year I plan to be more focused in my projects. Currently I paint, oil on canvas with a lot of turps, without considering the material I'm using, where it has come from or the environmental impact it may have. I will begin the new year with a project focused on the materials I am using to sit along side the concepts with which i paint.
Its a strange experience seeing all your work in a gallery, rather than just one or two. I feel a bit exposed. Its taken me two days to hang twenty seven works & I don`t ever want to fix rows of dinner plates again. There is nothing like having a couple of year`s work on show to bring home reality.
Tonight is the private view & I`m quite nervous. Do you think I should wear something smart or just be understated & blend into the background ? I know which I`d prefer.
Perhaps no one will come. Come on be positive. Its going to great, yeah its going to be great......
There is a great buzz for me being in the library with the chance to just look at whatever appeals. Sort of like a luxury of choice. I was drawn to two distinct areas. First was dance theory such as 'Dance in the Field' and 'Capturing Dancing' with interesting discussion of dance notation. 'Coat Connemara' disscusses a film about a coat and its wearer, all fascinating and resonates with the filmic work I have done in the past. My other find was Photographic Memory- The Album in the age of the photographer. Here the particular section for me was Walker Evans - Photographic Albums -For Let Us Now Praise Famous Men. Where 'Evans communicated the humanity of (them) ...in head-on bust length portraits without artifice, allowing their experiences, posture and clothing to communicate who they were....'. Lots for me to mull over.
Been trying a new tack on rice by adding cooked rice to the clay before rolling - seen an excellent site on the web..rather than pressing in raw grains. The rice will burn out at bisque revealing holes I hope - this time I have put the underglaze on first pre-firing.
Made these into vessels - bowls that I snipped with scissors and 'folded' randomly at the edges to make shapes with straight sides....felt like paper sculpting - echoes of origami - Far East links again.
Instead of using the laser cut text, I am using the underglaze as a monprint medium and writing direclty onto the 'green' clay. Making connections again with tea: location; tea as a social event; as a passion.....writing the names of all the teas I can recall being used in the house - sometimes laying the words curving round the form.
Will put some images up in an album entitled 'Rice'
We were part of this exhibition, unfortunately there are no pictures shown here of our work but there is an open call for the next show if anyone is interested...