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Come along tonight 6th December 6-8 and meet the artists

The work entitled Bedload part 1 and 2 started in the summer when the A20 was blocked and instead of heading off to Kent, my daughter and I diverted to Southend, for a summer’s day at the beach. While we were there she did what she has often done and filled a container with sand from the beach and asked if we could keep it. This got us thinking about what it might contain, the sand, (probably brought in by the Council) would contain all sorts of tiny deposits from the river. The river Thames which originates across the country in the West. Not only the literal physical deposits, but also all the thoughts and feelings of the people who had used it in the time it took to reach the sea. All the trade, the pleasure, the tears, all the thoughts; thought as people stood on all the bridges that cross the river, as they played in boats, as they worked on, in and by the river; all the stories lost into the Thames.
That was when we started to think about collecting bedload from the full length of the river, and Mimi thought of the title. In my mind was the reflection of increased complexity as the river matures, the way in which the river primarily collects material in its early stages and deposits more as it moves on down. We relflected this in the process of collecting material: Mimi collected, I carried and deposited it into the work, which we discussed and collaborated in creating.

In addition to this we thought of the way in which the river embodies place at its different stages, so that at its source it crosses fields, adding to the lushness of the grass when wet and reducing it when the bed is dry as it was when we were there.

It intertwines with agriculture, and less than a mile in has a manmade damn of some kind and very quickly a bridge, but when we were there in October no real river. The interplay between it and the natural world is evident in the eroded wood we found in its dry bed which became part of Bedload part 2.

The river already embodied the balance found along its full length, between economic: As an agricultural resource, and leisure : As a spot for people taking a country walk.

The stories the river holds are of itself here at the start are alternately full and dry. A source which is sometimes no source at all… And the questions it seemed to ask at this stage are: Is Thames Head really true to its name? And while dominantly natural is there any wildness here? Is our longest river tame from the start?

Our next collection point was Oxford: Here there was a mix of wet and dry, the river was full of boats, many of which were full of students, and the water meadows were dry and full of cattle. There was a sense here that collecting the bedload was both a riskier and probably a dirtier job. The

river had recently been dredged so that where it was flowing it rapidly became quite deep. We took a sample from the side of the river. We also picked one up from the dry bed of the stream that runs through the water meadows, this however runs under the city and emerges from a pipe with a distinctly sewer like appearance which is rather disconcerting, and made hand washing a priority.

Where the river runs through Oxford it serves the city with its complicated population divide, the students who are temporary residents and the long term residents many of whom work at the University and many of whom do not. A city bounded in an ancient history, and yet by its nature in a state of constant flux. A city caught up in traditions and at the same time holding some of the most cutting edge research and thinking in the world. A city both essentially British and eminently international. And these complex parts of the identity of modern Britain are played out as the river cuts through the country from West to East along the rest of its route. And here is where the metaphor of the Thames as a Lethe starts to hold true for me. Once the population of the river become dense and complex, and the arguments about identity start to arise. Because here is the question that arises here. What is the identity of Britain? Is it not the case that it is all of these things, international and national? parochial and ground breaking? Traditional, conservative and innovative and liberal? Silly and serious? If you took the stories of any one Oxford bridge running across the river on one day would they not contain all of these things? If you only see one side of this at any time you are forgetting the other.

So once we reached London and the deposits contained so much more in the

way of industrial products and manufactured bits and pieces, where the river was in the process of collecting and depositting at the same time, the way in which the river holds our stories spitting out fractions of stories had caught our imagination.
This is the background and process that we went through in creating Bedlam 1 and Bedlam 2: Thames’ Empty Bed which will be showing in The Thames: The ARTery of London, at Devon House, St Katharine Docks between 4 and 18 December. I will be there
The river Thames runs across the country, collecting evidence in its bedload of all that it has been through, both physically, in time, and metaphorically. Collecting from here and depositing there in fragments, like a giant Lethe. These works explore the metaphor of the Thames as a Lethe, holding all the lost stories of London, the thoughts that have disolved as people stand on the bridges, the physical deposits of its ancient history, the evidence it holds of both human endeavors and disappointments. And in particular we have a fascination with the way a river matures along its route, collecting most in its early stages and depositing most in its meandering maturity.

In the painting “Fulham Lethe”, the Thames holds all our lost dreams, and I have created the space to consider those dreams.

Sarah Needham

Bedload Part1
The piece “ Bedload” is a participatory project which I started with my daughter, she is 12, just emerging from childhood. She took the role of collector of information, I of recorder, depositor. We have visited the Thames from Thames Head to Southend and collected samples of the bedload which are seen here in testubes. We have wondered about what they might contain, what evidence of geology, of stories, of histories, new ideas and dreams in the different locations and how these change as the river matures.

This work invites participation, with small containers for the viewer to take away, tiny messages in bottles and respond to the piece with their own collection from the bedload. It is the starting point for a project that will continue online through my blog. artfromlondonmarkets.blogspot.com :Thames Project
Bedload Part 2
“Thames’ Empty Bed”:
Larger deposits collected from the Thames, evidence of the Thames starting point in nature, through the very human geography of London and the maturation point at the sea where nature and humanmade struggle for dominance. While collecting these items we came across what looked like a human shoulder blade(not collected), hoped it was in fact animal but it made us think about how ambiguous the evidence we were collecting was. Ambiguity less present in Tracey Emin’s more famous bed.


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So finally I seem to have merged from the flu fog. I have completed some new works this week, and got a load of admin done ready for two shows coming up in December The Thames: The ARTery of London is showing three works by me in Devon House, St Katherine Docks 4-18th December, and I hae 6 pieces at the Christmas show in Gabriel Fine Art 9-20 December.

The Thames the ARTery one includes a collaborative piece so please take a message in a bottle and take part. More to come about this in the next post.
New works

I have been working hard to complete two of the indigo series, these two new works and 4 others will be in Gabriel Fine Art, including the Phoenix Egg, Mr Equiano’s Scales, She Walks…and Last of the Ten.

Velvet Night-The Lot Valley-Spice Trading,Cahors
oil and indigo on canvas 101x101cm
2016

The continuity of truly dark nights in the valleys around Cahors make it possible to imagine what it might have been like to trade here, and head north toward Bruges before getting a ship to Britain in the middle ages. Cahors market retains a spice section, the houses from the spice trade of the middle ages are still there, and there is still a Muslim population in the neighbourhood which is dominated by a massive Cathedral, trading hall, physic garden and market place.

On a Wine Dark Sea
indigo and oil on canvas
2016
Referenceing Ovid’s Metamorphosis and Homer’s Illiad, the description of the seas around Greece as the “Wine Dark Sea”,this work seeks to create space for the contemporary lost stories of this sea. And if you haven’t already then think about reading these in translation, unless you happen to be great at ancient Greek: Suddenly just how dark this sea can be becomes clear

As a counterfoil to the increasingly wintery weather and with reference to some snatches of happiness from Padma I have been bold and used some joyous colour.

Driving  Padma up the A1M
oil on canvas 101x101cm
2016

She used to tell me stories on this road, now she comments very little but sits contented as the greens whizz past.
And in memory of a glorious summery sunny day in South End with Mimi I have finally resolved something which felt impossible in this work

Trading Routes
Oil on canvas 101x101cm
2016
Which both contain ideas of travel, wishful thinking as it gets cold here.


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So apart from flu, this week has included an inviation from a gallery and a visit to that gallery, with a fuzzy head I met the lovely Maria Rzepecka and Patrick Needham (no relation) at Gabriel Fine Art in the docklands. They have offered me the opportunity to show in a group show on the run up to Christmas. This came as a direct result of having shown at Parallax, where Maria first saw my work. They are delightful friendly people, and despite my malfunctioning brain I really enjoyed talking to them and look forward to working with them.

In addition to that I managed by the skin of my very poorly teeth to get my submission into The Thames: The ARTery of London, so I am waiting for their response. Otherwise I have been in my pyjamas.

The river Thames runs across the country, collecting evidence in its bedload of all that it has been through, both physically, in time, and in the abstract collecting from here and depositing there in fragments, like a giant Lethe. These works explore the metaphor of the Thames as a Lethe, holding all the lost stories of London, the thoughts that have fallen in as people stand on the bridges, the physical deposits of its ancient history, the evidence it holds of both human endeavors and disappointments. And in particular there is a fascination with the way a river matures along its route, depositing most in its meandering maturity.

In the painting “Fulham Lethe”, the Thames holds all our dreams, and I have created the space to consider those dreams.

Bedload Part1
The piece “ Bedload” is a participatory project which I started with my daughter, she is 12, just emerging from childhood. She took the role of collector of information, I of recorder, depositor. We have visited the Thames from Thames Head to Southend and collected samples of the bedload which are seen here in testubes. We have wondered about what they might contain, what evidence of geology, of stories, of histories, new ideas and dreams in the different locations and how these change as the river matures.

This work invites participation, with small bottles for the viewer to take away, tiny messages in bottles an invitation to respond to the piece with their own collection from the bedload. It is the starting point for a project that will continue online through my blog.

Bedload Part 2
“Thames’ Empty Bed”:

Larger deposits collected from the Thames, evidence of the Thames starting point in nature, through the very human geography of London and the maturation point at the sea where nature and humanmade struggle for dominance. While collecting these items we came across what looked like a human shoulder blade(not collected), hoped it was in fact animal but it made us think about what we were collecting as “evidence” in a bigger sense of life around the Thames.


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Having been quite excited by some of the connections which have come out of Parallax I have been knocked sideways by a horrible bug, and stuck with a fuzzy brain and floppy body, which leaves me challenged by a few looming deadlines, so I am not going to write much here, apart from a few small thoughts on the process of making. These thoughts really are small because my thought processes have not recovered completely.

Art is a physical process as well as an intellectual one, and a reflective process too. While I may start off with a lot of thinking and a bit of drawing and fiddling about, researching, and I certainly start of with some kind of process of collecting……. ideas, media, marks. However much preparation I may have done: While in the making I need both my brain to be working to allow properly for reflective interactions with the piece, and my levels of physical wellness to be there for the physical act of actually making. The tranformative process requires the whole of you.

I have collected a load of material with my daughter for a small project “bedload”- we want to make a piece for a show with an invitation to collaborate in our process, and tonight and tommorow night we need to assemble it reflectively, I have kept putting it off but now we are close to a deadline….

For some photos of the project so far go to artfromlondonmarket.blogspot.com

When I am better I will write about our full process and thoughts.

And this got me thinking; those artists who work through illness and disability, well that’s stunning, because at the moment I am finding it so difficult to do. Which makes me all the more inspired by artists like Paul Brown who have faced and met challenges to health and make fabulous work.


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PARALLAX- HOW WAS IT FOR YOU? @PARALLAXARTFAIR @ASHLEIGHDIX


Well given that about a third of the people I spoke to at Parallax were other artists wondering about whether they should take a still next time I thought I’d write a blog refelecting on what it was like to be there.

As my first ever Art Fair, Parallax was a very good learning experience, I have never spoken to so many people in such a short period of time, about my work. People were very positive, I guess the people who didn’t like it would have walked on by. There were a lot of stalls there. I got alot of very positive feed back which was nice. I had some quite serious interest in the large piece I had on sale which I am hoping will materialise into a sale after the event, and I sold a smaller piece. If I had been able to find out about the cost of posting to Russia I would have sold the big piece, however it had been the one postal destination I could not get a quote for despite calling TNT and DHL in advance. During the Fair that painting was imagined on a Russian bedroom wall and a London dining room. One thing I really should have done, and regret not having done, is to have taken the Russian woman’s contact details. I got the London couple so I can invite them to the next show and hopefully they will have had more time to consider and will buy. They both have my card. My next bit of work next week will be to follow up with the people I made contact with.

We seemed to be in a good spot, not necessarily in terms of the geography of the room, but in terms of the artists around, who were friendly and had work of good quality. I shared my booth with the lovely Paul Brown, whose beautiful work and mine sat happily along side each other. His work can be seen at/boughtfrom www.riseart.com/artist/paul-brown

We were opposite Ashleigh Dix, a twitter connection which has now materialised into a
real world one, always a nice thing and you can follow her on twitter @ashleighdix see her work on
ashleighdix.com/gallery and she has recently been posted on instagram by Oaktree and Tiger. She shared with the very friendly Rodney Durso see his work at www.rodneydurso.com who had come from New York especially and had chopped up Donald Trump (hurray!). Next to them was Laufey Johansen who can be found on Facebook as Laufey Arnalds Johansen, with her big black abstracts. It was good to discuss publicity materials and techniques and get ideas from them, and this was a very friendly group. In that respect the event was fun, and we were able to give each other moral support and tips.

Like I said there was some serious interest, I chatted to a gallery owner, not one of the galleries I had invited, and a designer, Belma of www.halamar.com expressed an interest in future possibilities. I picked up a good list of names to add to my invitation list for future shows.

However at this point it cost more to put on than I made in sales at the venue. It is a quick turn around being open only for two full days, and there were people who wanted longer to decide. It may be that in the long run this will work out to be a good investment but it is difficult to say just now.

The show was well organised by Parallax, the setting is beautiful: Chelsea Town Hall is a big wedding cake of an interior, and when the band played Eastern European violin music in the bar we could almost have been on the set of War and Peace (without the period costume). It was also good for passing trade. Quite a large number of the attendees who I spoke to came from near by.


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