ARTISTS TALKING

# 93 [12 May 2010]

8-22 MAY

ONE STEP FORWARD, TWO STEPS BACK:A conversation with no conclusion

BARRIE FELTON 

GWYDDION FLINT  

JILL IMPEY    

CHRIS PARKES

MICHELLE PARR  

LAWRIE SLACK  

RUSSELL WILLETT

One Step Forward, Two Steps Back is an exhibition that brings together a diverse mix of works by seven artists reflecting on the process of creating contemporary Fine Art. It is a discourse on making art at times informed by irrationality, absurdity; bringing together incongruous, incompatible elements to co-exist in space; the sublime and the ridiculous. The works show a concern with paradox: lightness and darkness, harmony and discord, order and chaos, construction and deconstruction--subjects that are irrevocably bound up with the temporal issues of past, present and future. 

Stoke artist, Russell Willett’s ‘Paradox’ consists of five paintings that draw from his industrial background, precision and control vie against freedom of expression, Willett notes, “ it’s the process of building up an image and then doubting it”. Balances of abstract and realist elements are poised together in space and time. The idea of a point in time also runs through the work of Michelle Parr, who uses deconstruction to deal with an inner fear, referencing Edmund Burke, The Theory of the Sublime "In order to understand the origin of our ideas of the sublime and the beautiful, we must examine the experience of pain and pleasure". Parr creates wire drawings of large constructions, such as buildings and bridges (which she fears) and then deconstructs them up to the point at which the illusion of a building transforms into matted wire confusion. Through her de-structuring, she questions the beauty assumed to be inherent in art. What becomes more important is the expression of human frailty in the face of the monumental power of industrialisation. 

Several of the artists respond to the concept of the sublime in this exhibition; Jill Impey’s film work, takes a philosophical look at existence with reference to Turner, Darwin and Joseph Conrad in exploring relationships between human expression, evolution and the timeless power of the natural world to overcome boundaries. Questioning the representation of History is a thread running through Impey‘s work, her installation; Compare and Contrast creates a dialogue between locally crafted, antique ceramic artefacts and contemporary conceptual art. Chris Parkes tackles tentative subject matter in which the mundane challenges beauty and seeks to articulate the more capricious and absurdist aspects of the sublime.  His film, sculpture and painting installations play with the human instinct to engage and respond, that which “seems inescapable in our description of how the world appears to us. We take the initial steps to process what is perceived to be real, with the understanding that our perception is true”. 

This is an exhibition of contrasts and dialogues between opposing forces, an element seen in the work of both Lawri Slack and Andrew Flint. Slack takes us into a world of macabre beauty and violence, with her paintings that retain a feminine elegance while their creation through the medium of blood and the action of boxing forces us to be both attracted and repelled. Flint’s works reflects his disenchantment with the modern technological world, in this show his idealised vision of how the world should be is dispersed by the interruption of an anthropomorphised item of technology.

In Barrie Felton's site-specific work A Spiral Staircase, A Work in Progress, the mind and thought processes of the artist are visualised as a three dimensional structure. Alluding to the sentiments of the show's title, the work implies that the creation of art and the means of achieving critical recognition, are not easy or straightforward.


This exhibition stands as an unveiling and questioning of human progress and a response to the art of the last two centuries. It also considers future evolutions, the pause for reflection before a leap forward.

# 92 [12 May 2010]

April 2010

As an introduction to conjunction 2010, stoke-on-trent's contemporary art biennial, airspace will be hosting Carl Gent for a two week long residency. The plan for the residency is for the artist to explore through creative means the organisational structures and strategies, both within the Conjunction Biennial and the regional regeneration environment. The process of working should endeavour to examine the way in which the biennial is supportive, contrasting, or developing the regenerative strategies developed by regional regeneration bodies, and the local authority. The work produced should represent a creative interpretation of the processes and avenues which the biennial already engages with and the way in which it can develop new ways of thinking. It will therefore influence the organisational development of the biennial to encourage production and consumption of contemporary art in the North Staffordshire region.

"In my residency at AirSpace I will aim to manufacture an intellectual bond between the environs and people of AirSpace gallery and Stoke-on-Trent in general through something akin to a “town twinning”. Through isolating the age of the Westphalian coal deposits that are so linked with Stoke’s history I can identify two possible candidates for this cosmic town-twinning. The age of Stoke’s coal lies between 313 - 304 million years old. Using this information I have identified both the Coma galaxy cluster (at 310 million light years distant) and the barred galaxy NGC 7318B, a member of Stephan’s Quintet (at 304 million light years distant) as potential twinnings for Stoke. The goal of this twinning is to experience these galactic objects, and the entirety of Outer Space, in a more meaningful manner than just looking at them. The light that is currently being received from these galaxies left their hosts at the same time as the ground beneath Stoke was being formed. There is a connection here that simultaneously identifies Stoke as having a direct relationship with somewhere of an infinitely more exotic nature whilst highlighting the extremities of distance and time inherent within and beyond Earth’s structure." - Carl Gent 2010

# 91 [31 March 2010]

There is beauty in the city

5th - 17th April

as part of Dialogue Box

AirSpace Gallery Window

after 2 years and consisting of over 200 images sent in by 40+ artists and photographers, there is beauty in the city has become a mini-phenomenon. the little black magnet has been flagging up urban beauty sites from the project base in stoke-on-trent throughout the uk and as far afield as jakarta and sydney.

the exhibition presents all submitted images, each of which represents the respective artists' unique visions of what they find beautiful about their cities, in the form of a looped film, and set in its own tableaux in the window exhibiting space of AirSpace Gallery.

so, be sure to come to AirSpace Gallery in Stoke-on-Trent to see the first step in what is promising to become a truly global event.

www.thereisbeautyinthecity.blogspot.com/

# 90 [31 March 2010]

Katie Shipley – If I Write in Yellow

As part of Dialogue Box

AirSpace Gallery Window

Yellow is the last colour in the spectrum that someone with dementia loses.

If I Write in Yellow is a list, something that many of us use as an everyday tool, small reminders of what we have to do or things we have to buy. But this list is full of small, seemingly insignificant, things that most of us would take for granted. The list is written on a pane of glass and describes the area seen through and surrounding the glass, as well as events that might happen as the list is written, such as a person walking by. The artwork becomes a memory, a snippet of a diary in the day of the window, or the person looking through, and exists only temporarily until it is wiped away.

If I Write in Yellow illustrates a desperate attempt to communicate with a loved one. The list, written in yellow ink, becomes a description of life and experience for the sufferer. It visualises attempts to allow a person to remain independent for as long as possible. For the onlooker the list is written backwards, it shows an outsiders view of a relationship between a carer and the person with dementia. A relationship that is not understood by many but may only be avoided by a few.

www.katieshipley.com

# 89 [17 March 2010]

Harminder Singh-Judge includes a sculpture piece in the \”home\” exhibition entitled ‘Madonna & Child’.  The sculpture consists of an ape cradling a baby ape with a white neon circle surrounding them.  Controversial in its content and with the use of this particular title, Harminder Singh-Judge is clear to make a point and not be afraid at stating it with volume.  Madonna and Child are normally seen as pictorial representations of Mary with the infant Jesus.  Mary being seated and seen holding the baby Jesus is a typical representation produced during the 15th Century in Florence where Roman Catholicism is still strongly followed today.  Where Roman Catholicism focuses on spreading the gospel of Jesus Christ, here the artist presents us with Darwinism and challenges the idea of religion and how it shapes society.  Representations during the 15th Century of this nature where usually symbolised with the Passion of Christ emphasising the suffering both physical and mental that Christ endured.  The fact that the artist chose this particular representation of Mary and the infant Jesus, may be linked to the connections of the Jesus suffering and highlights how we as people are in fact suffering and have no God to turn to as a saviour.  It tackles ideas of existential nihilism and plays with notions of meaning and purpose.  This could be a revelation from the artist that we are not dictated by religion, but we are in fact responsible for our own lives and should act in accordance.  It is clear that the artist wishes to raise questions over aspects of people’s lives that give them comfort and challenge their views.  This piece has been created through a process of the artist questioning his identity, heritage and personal experiences of different cultures and gives insight into the struggles which can occur from being linked to a strong religious background.

This exhibition successfully entices the viewer to sample pieces of the artist’s personal experiences of life, personal development and fitting into a particular society or culture whilst remaining sympathetic towards others.  The selection of works in this exhibition allows the viewer to see different perspectives and understanding towards Asian culture without it being presented in a biased manner.  For those looking to challenge their views, or gain a better understanding of Asian culture and identity, this exhibition is a must see and notable as being one of Airspace’s best exhibitions.

By Stacey Booth

# 88 [17 March 2010]

Hetain Patel presents a split-screen film entitled ‘To Dance Like Your Dad’.  One thing that is evident from this piece is the artist’s attention to detail and the precise nature in which he undergoes his work.  The film consists of a split-screen, the artist’s dad on the left and the artist himself on the right.  What starts as a simple idea for a film piece has been developed beautifully by the artist to create a complex and very engaging short film.  On the left you see Patel’s father begin to explain what his employment involves and he gives a tour of the work premise and machinery which he uses.  On the right you see the artist mimic perfectly each movement and spoken word from his father, emphasising the title and the pressure that may be upon the son of the family to follow in his father’s footsteps.  Again this is a piece which explores identity and what impact being associated to multiple cultures can have on an individual.  The preparation for this piece has clearly paid off and this film only works as well as it does due to the artist’s high standards.  The space which the artist has used to mimic his father’s movements, has been calculated precisely so that he can walk the same number of steps, turn and move in the same way without being confronted with a wall or obstacle or even having to compromise movements due to having a lack of space.  For anyone that is interested in art that requires a precise methodical approach, I would strongly recommend seeing this film so that you can appreciate the artist’s efforts fully.  Overall it is a strong piece and Hetain Patel is one to look out for in the future.

# 87 [17 March 2010]

Chinmoyi Patel presents a sound installation piece entitled ‘B.P & S.P’.  A section of wall is painted in vibrant orange creating a sense of warmth and comfort.  As you begin to listen to the piece through headphones you begin to hear the artist’s voice as you look at the orange space and a multitude of stories unfold.  Chinmoyi Patel is interested in exploring her identity and culture and she does this by taking snippets from reality and adapting them into a fantasy world of storytelling.  The story which unfolds is told in sections of no particular order, and as the story progresses each section of the story becomes clearer as you relate to what has been described earlier in the piece.  Chinmoyi Patel obviously feels strong about her sense of reality and where she feels she fits into this through how she projects herself.    The use of orange that covers the wall, helps to create the warmth that she installs in her stories, but orange can also be symbolised with courage and this is something the artist may be familiar with when asserting her identity and exploring reality through her storytelling.  The piece is very descriptive and they way in which the piece is voiced helps deliver a broader understanding allowing a range of people to relate to what they are hearing.  Even though Indian culture is at the heart of the piece, themes such as family, relationships, childhood and memories are explored.  The change in pitch and pace of the voice telling the story helps to capture your attention and it does give a sense of an adult reading to a child at times, which only adds to the feeling of warmth and exploration of past times.  The piece is sympathetic and sophisticated in its approach and gives a glimpse into the artist’s mind and life which she has been exploring.

# 86 [17 March 2010]

Samit Das challenges the ideas of development and growth within our cities and societies.  The term ‘developed’ suggests the sense of being at the cutting edge or having made a successful transition from one stage to the next.  Das demonstrates what impact development and growth has upon our surroundings and therefore affecting our lives.  Multilayered and focusing strongly on architecture, Samit Das’s work incorporates collage and laser engraving techniques, and could even be considered sculptural as some pieces are three dimensional due to the layering process that is used.  Images of buildings and architecture are numerously layered creating a dynamic expansion across the surface of the piece mimicking the movements of construction in cities such as Bombay and Delhi.  Das plays with the idea of the new waves of development consuming the old and traditional.  With the constant drive for capital gain and expansion, Das highlights how we could be creating our own downfall through the motion of continually striving for more.  His work can appear apocalyptic and this is clear in a photographic piece entitled ‘Goddess’, where what appears to be a sculpture of a Hindu goddess is left smashed on the ground surrounded by rubble. Whether this relates to the infrastructure of Asia, or how religion has been adapted to meet people’s needs in a new society is debatable and could even refer to both.  However what is clear is the emphasis on fast change and how constant development does not remove all traces of what was there before.  It questions whether this trend in development is just a spurt or whether people no longer feel attached and precious towards their traditions and heritage despite being seen as valuable for such considerable time.

# 85 [17 March 2010]

\”home\” is the latest exhibition to feature at Airspace gallery in Stoke-on-Trent.  Kashif Nadim Chaudry, Samit Das, Chinmoyi Patel, Hetain Patel and Harminder Singh Judge explore their identities as well as their cultural and traditional heritage through their individual creative practice.  With each artist being connected to Asian descent, \”home\” highlights the theme of personal identity and development when being associated to multiple cultures and the boundaries and opportunities that can be presented as a result.
Kashif Nadim Chaudry displays strong influences from his family history of tailoring and trade, this being seen through the use of materials in his work as well as the techniques employed to create them.  ‘Sanctuary’ is a sculpture piece which clearly defines the artist’s interest in Islam and the architecture that is also associated with religious areas of Asia.  Wood and cotton are beautifully combined to create a piece which demonstrates gothic and Islamic architecture as well as demonstrating his personal experiences of travelling, religion and traditional textiles.  Even though the sculpture stands approximately 100cm tall, the grandness and importance of the monolithic structures in this piece is apparent.   This relates to the artist’s strong religious upbringing and the level of importance this poses in his life.  The cotton has been carefully dyed burgundy and presented carefully to create a flowing draping effect around the four main structures.  With this particular colour symbolising purity in India, this only emphasises the religious references contained within the piece.  The elegance of the draping cotton is also further accentuated through the use of this particular tone and helps to suggest movement, possibly linking to the artist’s experience with travelling or even suggesting the influence that religion has over people and how this flows throughout their day to day lives.  ‘Enter’ is a textile piece created from machine tufted wool and synthetic fibres.  With the artist’s family having a successive tailoring background, the importance of selected materials and how they are used are clearly important and something the artist feels he wants to carry on in his own work.  You are enticed to explore the varying textures of the materials and the change in shape, colour and texture, especially towards the centre of the piece, only encourages this further.  This could link with the artist’s drive to explore his culture and identity as well as the areas from where this originated from.

# 84 [3 February 2010]

\"home\"

presented by AirSpace Gallery13th February – 27th March, 2010 | Opening Reception Friday 12th February, 6-9 pmAirSpace Gallery – 4 Broad Street Stoke-on-Trent Staffordshire UK ST1 4HL| Open Tues - Sat 11am - 5pm

Featuring: Kashif Nadim Chaudry, Samit Das, Chinmoyi Patel, Hetain Patel, Harminder Singh Judge

\”home\” is a group exhibition looking into how, when set in a comparable context with artistsfrom South Asia, British artists of South Asian descent view their own origin and literal physicalsense of location, alongside more figurative investigations and manifestations of the self andidentity, locality and vicinity, foreign and foreignness, home and origin.