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Do you want the good news or the bad ?

May 16, 2017 by Adrian Baynes   Comments (1)

Okay the good news :

I`ve sold six of my "They came in the night with ladders " prints & twelve of my dinner plate wall reliefs.

Bad news: Failed to get in RA Summer Show (again), not selected for a further three other Open competitions, sigh ! Just got the annual Jerwood Drawing Prize to go & then I`m going to give up.Mind you I always say that.

Inside vs outside and infinite stuff vs infinite space

May 14, 2017 by Rebecca Collins   Comments (0)

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One of the activities I have been engaged in during my 9-month long obsession over repetition has been doodling on painted MDF. I have spent hours doodling and drawing, scribbling and musing. The doodles are about repetition. The doodles represent repetition. They are also repetitious. They reflect my thoughts on repetition and my repetitious thoughts. The topics covered by my doodles are vast and varied and come from many influences over the last 9 months. They include: physics, philosophy, space, stuff, popular culture, TV, books, films, magazines, radio, buttons, images, icons, ideas, concepts, data, coffee shops, food, Christmas, Easter, holidays, conversations, work, loves, people, friends, family, acquaintances, hates, joy, sadness and life.

The painted MDF has become two plinths. Here is Plinth 1.0. This is Plinth 1.0 in Paris.

Plinth 1.0 in Paris

Plinth 2.0 is the opposite of Plinth 1.0. Plinth 1.0 has a skin of drawings and is black inside. Plinth 2.0 has a skin of black and has drawings on the inside. The idea is to reflect the opposites of infinite stuff and infinite space. The world vs the void.

Close up of Plinth 1.0

I made Plinth 1.0 first. I doodled on Plinth 1.0 pre-constructed. Once Plinth 1.0 was complete, I moved on to Plinth 2.0. I doodled on Plinth 2.0 in five pieces. I took each piece home to work on, one at a time. The five pieces were assembled to make a plinth after completion.

Plinth 2.0

I’m not sure how conscious I was of this but I’ve since noticed an interesting difference between the drawings on the first plinth compared to those on the second one. Plinth 1.0’s themes are general and external. They are global and universal. They derive from outside influences, the first half of the list above. They are about repetition. However, Plinth 2.0’s themes are much more personal and internal (see the second half of the list above). They are still about repetition but rather than about the repetition around me in the big wide world, they are about the repetitions in my head and my sphere of influence. I only noticed this interesting difference after I had completed Plinth 2.0.

The drawings on Plinth 1.0 are completely visible. The drawings on Plinth 2.0 are partly obscured as they are within the five walls of the plinth. They reflect what is in my mind, which I guess like Plinth 2.0 is mostly obscured to the outside world. 

When the two plinths are on show in the Degree Show people will be able to examine the drawings on both plinths. However, it will be much more difficult for them to study the drawings on Plinth 2.0. I also fear that they will also struggle to understand many of the themes behind them. I hope that they will find something they can relate to. Even if they are challenged by my drawings, my hope is that the concept is clear: life is repetitious, both on a macro and a micro level, but it is also ever changing and ever interesting because of the small changes that come about from repetition. I’m referring here to the infamous infinite variations. We should praise the minute differences that come about from repetition. We should also value repetition for what it does for us. It comforts us but it also shapes so much about us an the world around us.



That age-old question: is it art?

May 8, 2017 by Rebecca Collins   Comments (0)

I've been thinking more today about my defect art. I have been asking myself what it is about these innocuous little examples of graffiti that I like so much. All I am doing is painting holes and marks. The question I now ask is: why is this art? These replicated holes aren't particularly aesthetic and they don't take long to do. They don't have much in the way of compositional thought or feeling behind them. Nobody is going to seek me out to ask me to paint marks or holes. So what is it all about? 

Another question I have been asking myself is: why do I like painting holes? On one level, I think it is the humour that appeals to me. After all, what sort of person goes around painting holes and marks? They aren't expected and they should catch the eye. But on a deeper level it is the underlying, oft-asked question that these little 'pieces' raise that appeals to me: what is art?

All art, it can be argued, is a form of copying or imitation, whether that be of life, thought or feeling (I'm not going to go into that debate here).

An imitation or representation of an object, a landscape, a face, an emotion, a pattern or a feeling is valid as art. So, how about an imitation of a mark or hole, a blob of paint, an accident or a staple? If there is no such thing as originality and all art is copying. I'm copying and this is art. If I'm going to copy something I may as well copy something nobody would normally consider copying. Why not turn the really band into an interesting 'stilled' life? Why not still the irritating and the mundane?

Putting the copy next to original seems to give the copy some degree of agency. To me, it feels as if the copy is saying: Hey! Look at me! I'm more interesting than that boring old hole next to me because I'm deliberate and I'm a fake.' The copy seems to be defying the urge of destruction. Defects should be filled in, painted over, washed away but would you do the same to a painted defect? By doing so, the artwork will be destroyed. My painted holes and marks of course will definitely be destroyed at some point. I have no doubt about that. They aren't regarded as valid artforms when compared to a painting or a sculpture, or an installation or performance. That is just a fact. I can't dispute that.

So, perhaps the conclusion should be that this isn't art. I would like to think it is but the fact that they will be painted over and without much conscience to me says that they aren't valid, or at least aren’t regarded as valid as other art forms. This does not answer the question: what is art? That question will remain forever unanswered I fear.

While engaged in this project I have come to the realisation that I am not an aesthetic artist. I am not a representational artist. I'm not an abstract artist. I'm a philosopher who uses art as a medium of expression of ideas. 

Philosopher first; artist second. Despite all the self-doubt I have the further I get towards my degree, perhaps there is some purpose to all of this 'playing' I do.


May 6, 2017 by Emma McKinney   Comments (0)

slice is a new project I've set up that happens every month at Stryx Gallery. Stryx is an artist run studios and gallery space in Digbeth, Birmingham. The project is a constant negotiation with the gallery about how much and which space I can use. Each month I will be inviting an artist to have a solo presentation at Stryx - whether that be in the main gallery space, a smaller space, a workshop space, a corridor - depending on what Stryx have already programmed.

For the launch of the project, I invited Leeds based artist collective SEIZE Projects to create a show of their own individual work in the main gallery space at Stryx. The show opened at April's Digbeth First Friday and was very busy. We also invited a group of young people from Ikon Youth Programme to look around the show on Wednesday evening and they asked me and Ned (one of the artists) lots of questions. 

You can see photos from the show here:

Last night the second in the series of exhibitions opened. This month I invited Manchester based artist Emily Tilzey to present work in the small gallery space alongside the opening of Stryx's annual residency programme. I'm really pleased with how the exhibition turned out, Emily has a great eye for how to place objects and I love her use of materials. I think that the project worked really well alongside Stryx's show as it looked like a separate gallery space in itself which is something I was interested in creating - exploring how we can use, share, layer and negotiate existing space to facilitate more artists.

brum radio

May 6, 2017 by Emma McKinney   Comments (0)

After chatting with the students at Wolverhampton University about my interest in curatorial work and self oragnising projects I've set up a monthly platform for artists to show their work over the radio. Brum Radio is a local Birmingham station who contacted me because they wanted to do a monthly show about Digbeth First Friday. DFF is a monthly micro festival that brings the area of Digbeth alive with exhibitions, performances, live music, street food and more every month on the first Friday. The station got in touch because they wanted to interview an artist so I took artist Simon Bayliss down to chat to them about his solo exhibition in the second gallery at Eastside Projects. 

While we were at the station I had the idea that it could be used as an extra venue to experience artworks on DFF, extending the geographical reach of DFF. Simon Bayliss had been telling me about a collaborative project he was doing with Susie Green where they were making music and performances together and I knew Simon would be back for the next DFF as he was taking part in the Winter Art Fair I organised at Eastside Projects so I invited Simon and Susie to present their collaborative work over the radio.

Since December I've invited artists every month to present work in this way and it's been really interesting to see how they've approached the format as most of them haven't been sound artists. I would like to get a sound artist involved for the next show so I've contacted an artist I know who is also on the AA2A scheme at Wolverhampton University called Samuel Rodgers. I'd like to see if the radio format changes his work in any way or how the format effects the experience of that.

You can listen back to previous shows here:

Studio Visit

May 6, 2017 by Emma McKinney   Comments (0)

I was contacted by the two AA2A student reps from the Fine Art course at Wolverhampton asking if they could visit me in the studio to which I replied with a yes and a warning to come along wrapped up in many layers! 

In December the students made their way through the back streets of Digbeth to find me in my freezing cold studio - The Lombard Method. The studio was set up by a group of around 9 graduates, mainly from Birmingham City University, around 8 years ago. It's a shared studio with a very diverse range of artists and makers - there's a painter, a ceramicist, a sound artist, a video and performance artist, a fabricator, a collective who create DJ performances, an artist who makes 3D printers that can print porcelain, plastic and even mould (!) and a guy who makes bespoke amps. As well as the shared studio space there is also a workshop with lots of tools and equipment that you can use and also a space upstairs to document work (with an amazing view of the Birmingham skyline).

I gave Becky and Jackie a tour of the studios and introduced them to everyone who was around and told them a little bit about what everyone does and the studio space. They then asked me lots of questions about my practice and I showed them works in progress in the studio, some finished works and photos of work I'd made previously. We also chatted about my job at Eastside Projects and how it is leaving art school. I was interested to here what the students were making so they told me a little bit about their own practices and what they had coming up at uni - they were both looking forward to their end of year exhibition. 

Chatting to MA students

May 6, 2017 by Emma McKinney   Comments (0)

When asked by the tutors at Wolverhampton to deliver a small talk about my practice to a group of MA students admittidly at first it seemed a little bit daunting - I was still very unsure about what my practice was and what I wanted it to be. 

However, having this opportunity to think about those questions and a deadline to come up with semi concrete answers I found to be a really useful exercise. I've never enjoyed speaking about my work very much but with this small group it was very informal and I found their questions and comments helped me to better reflect on what I'd been doing and what I wanted to get from my practice in the future. 

Previously I'd been making objects however when I was on my degree I'd also been organising small group shows and club nights which was something I had really enjoyed. At the moment I'm working at Eastside Projects so this is something I spoke to the students about and explained that this connections with the Birmingham art scene had made me realise how much I wanted to organise exhibitions and events again. We also spoke about all of the opportunities and support that is available through Eastside Projects associate members scheme, ESP. I encouraged the students to get involved with the gallery and really hope that they do as it's a great support network to keep your practice going when you've left uni and entered the scary 'real world'.

Copying defects - the real vs the unreal

May 4, 2017 by Rebecca Collins   Comments (0)

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I am now marching (or being marched, it feels like) swiftly towards the Degree Show in the Fine Art department here in Wolverhampton. There is just one month to go. The studios are buzzing with ain air of creative stress and frenzied activity. I love this time of year. The results of ten months work are starting to appear and there is a lot to be inspired by.

The theme of my work over the last ten months has been repetition. I have been obsessed with repetition. I have lived and breathed repetition. I have been drawing, painting, making, writing, posting, blogging and obsessing about repetition for months.

There are two main pieces I am hoping to exhibit. One is two plinths covered in drawings, which I will write a separate blog about. The other 'piece' is recreated defects in the exhibition space and elsewhere in the building. I'm hoping that it will be a sort of subtle, mostly unseen, but not wholly unseen, anti-Platonic guerrilla art.

I won't be able to create any of my defect replicas until just before the Degree Show, so I feel strangely relaxed, but I have been practicing today. Since the studios here are in quite a state after nearly a year of artistic activity by me and my fellow students, there are a lot of opportunities for me to leave my mark here.

Here are some examples.



The aim is partly to see if people will spot my artworks while they are looking for 'real' art. Despite the fact that these pieces are, in my eyes, genuine artworks, they aren't expected.

I want to challenge the notion that the copy is inferior to the original (and that the copy has a bond with the original). I have (will) deliberately place the copies next to the originals to see if people are able to dissassociate the former from the latter, which is what I want them to do.

For my research on repetition, I have read a lot of what Gilles Deleuze had to say on the subject. He is well-known for turning the Platonic relationship between the model and the copy on its head by looking just at the copy itself and divorcing it completely from the original. He talks of two types of repetition: mechanical and dynamic. The latter creates originality. He wanted us to value the copy in of itself and to value the process of repetition, not for the copies themselves but the differences between the copies, or the vibrations.

More holes

I want to tease something interesting out of this process of copying. There is something unsettling, or uncanny, about seeing a fake a hole or defect. It doesn't quite look right. It isn't the original, but it resembles the original, yet it has a quality separate from the original. It couldn't possibly be the same as the original. It isn't the same so we don't need to refer to the original. My question is: does the copy here have value in itself? I hope so.

Tiny Holes

Handing In the Jacket

May 3, 2017 by Julie Cassels   Comments (0)

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The jacket is finished and handed in to Chester Military Museum of the exhibition. Relining it was a challenge and I now could write a chapter on 'things you ought to know about replacing a lining, before you start'. Incorporating technology in to the outer design has been fun and also an education.