Penny Hallas lives in Llangattock, Wales. Caroline Wright lives in Kettleburgh, Suffolk.
Their shared concerns are realised in work that explores the position and experience of the insider and outsider, to challenge ideas through artwork, exchange and display of objects, parallel walking, mapping of locations and other works. They have chosen the Skirrid Mountain, Monmouthshire as their site of investigation as they unpick what it means to be familiar and unfamiliar and the disturbance this causes. In this new phase of the project, the artists will explore the direct relationships between their artwork.

ARCADECARDIFF

Launch Date: Thursday 1st March 2018 6-8pm

Event: Thursday 15th March. East/West exchange with Dr Adrian Healy and the artists speaking from their respective geographical areas, including an interactive reading exchange.


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The a-n professional bursary has now come to an end, but relationships and projects it has supported continue, so there will be more posts on this blog. So for now – warm thanks to Yasmin Canvin, Caroline Wright and Dr. Adrian Healy – and Artist Information Company of course!


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The third and final presentation for the Test Bed show at Oriel Davies Gallery is now on view until 7th January 2017.

It has been a fascinating journey towards the personal presentation of the work for the Test Bed gallery. The initial presentation where the space was shared between us both set up a relationship between the work, in dialogue from wall to wall across the room. This was followed by Penny’s installation of tiny paintings seen through magnifying lenses that were affixed into strong sculptural pieces of rusted metaI. Caroline’s cone shaped landscape sculptures filled the floor, preventing entry to the gallery. What was apparent was that both mini shows played with the perception of space, distance, perception and control.

Oriel Davies have made a film sequence of the 3 presentations in the space.

Yasmin Canvin offered her critical views on the work in discussion and we all contributed to a discussion about collaboration with Oriel Davies Gallery’s Drawing Room residency artists Lisa Wilkens and Morag Colquhoun.


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Presentation 1, showing work by both Caroline Wright and me (see images above) is now over. Presentation 2 is now showing – (see images below) until 8th December when presentation 3 will take over.


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Caroline Wright and I have been sharing images, ideas and accounts of our work together with Yasmin Canvin of Fermynwoods Contemporary Art over the course of the project. Most recently we met on 28th September to share our plans for showing in Oriel Davies Gallery’s Test Bed

We want to convey something of the process of our collaboration – the different stages and phases it has been through – so will be making a series of three interventions in the space, between the launch on 22nd October and close on 7th January 2017.

  • 22nd October: launch of phase 1 – (Penny Hallas and Caroline Wright)
  • Change over to phase 2 on 7.11.16 (Penny Hallas)
  • Change over to phase 3 on 8th Dec (Caroline Wright)

Yasmin wondered how we would convey something of the whole process at each stage – not just in accompanying text, but visually. She saw that we had each found different reasons for the noteworthiness of the Skirrid Mountain – and distinctive ways of communicating familiarity / strangeness: distance / intimacy: belonging / alienation. She spoke first about phases 2 & 3, noticing that in both of these, estrangement, barriers, and difficulty will be a part of the experience, involving viewers bodily, physically as well as visually. Phase 2 will encourage people to enter into the space, to peer into miniature paintings of the mountain, perhaps to use viewing devices of various kinds to overcome distance and try to get a better view. Phase 3 will fill the space with 3D cones, restricting access to the space – forcing the way the work will be experienced both from within the space looking out and at a distance from the outside.

Her feedback was that phase 2 and 3 are convincing and that, together apart, the differences in our approaches add weight to each other and to the narrative as a whole. However, she felt phase 1, where we show elements of both our work from the beginning stages of the project, is more problematic, and she posed questions to help us think more about how to make this phase stronger – and link it more overtly to what was to follow.

How could we communicate more of the themes of difference? How could we emphasise more our experience of near and far? She suggested this might be done through reconsidering scale and through careful selection of images. As I result, I reworked my slide sequence, making images smaller in the blackness of the screen – to link a little more with the process of peering into the miniatures that will follow in phase 2. Caroline took the decision to keep her contribution simple, choosing to narrow down to one image without including any of Agnes Martin’s writing at this point.

We talked about texts which could be part of the exhibited work and about how to extend participation beyond the Test Bed experience itself – in the way that we used postcards in PEAK on the Edge event (see blog below)

During our discussion I was reminded of 4 key messages I’d taken away from our first mentoring conversation back in June, when we were preparing for the PEAK event, and which have stayed with me over the summer and into the autumn. These were:

  • What is the difference an audience can see – and that we can show?
  • What is the experience you want people to have?
  • What is it only you can do?
  • What is the role of surprise in shifting audience perceptions and forging memories?

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