An artist/curatorial statement outlining the current motivations which underpin your current practise and/or proposed project.
My practise is wide, open and various with a concurrent focus on performance and objects.
My performance based practise revolves around performing phrases, doing the saying.
My object based practise includes collecting multiple modern postcards (1960s-1980s) of the same image and wrapping objects and spaces in hazard tape.
For FYC/Supercollider my performance methodology is crossing over into my object based practise: using postcards of swimming pools I have been colouring in and cutting out the blue and replacing with black.
My motivation is to create a conversation between art and audience.
I propose to exhibit various postcards/colour photocopies, printed canvas, text based work, sculpture and performance.
The performance will include borrowing sand from The Golden Mile beach to make a sandcastle, on a scale, on a DIY workmate, to be knocked down and repeated; as well as segregating sand into individual grains to be displayed on slides with the opportunity to be viewed under a microscope.
My first show’n’tell at Castlefield – I am an associate member (a christmas present).
I had just had a brief wander around the Cornerhouse at the Jamie Shovlin exhibition and my first impression was Zoe Belhoff: DREAMLAND The Coney Island Amateur Psychoanalytic Society and the Blackpool Chapter at the Grundy and my impression of that.
So an exibition about a re-make of a film that never existed reminded me of an exhibition of a made up chapter of a society that never existed.
The point being, one of the artists talking at Castlefield explained how the workmen repairing canal locks used modern materials to do the repair job but then re-instated the rusty parts to make it look real, more authentic, some kind of reverse, retro cosmetics.
The lines in the sand are constantly changing thats the consistent.
Finshed reading Breasts a natural and unnatural history (Florence Williams); research for The First Laugh (Aquatic Ape). The author does mention Elaine Morgan and later states …….”this being a specialized human infant, she can suck and breathe at the same time, unlike adults” p.176 as well as……
“One lesson is that the ‘cleaner’ you are – at least by the standards of consumer culture – the more contaminated you are” p.130
What am I going to propose for a launchpad exhibition at Castlefield?
The following text are notes from a talk at The Grundy by Tate Director Francesco Manacorda.
Museums are resevoirs, more than just keeping art….. compare/contrast to a library….use what is collected….loans…an operating system ……uncooked…. not a chef…. interrogate the public…trial and error…change from transmit and receive, one way to two way…..OPEN….describing the first museum in Athens sounded like what Maurice Carlin described in the talk about Folk Art, how he set up an alternative, parallel education – a SO OS – a self organised, operating system
…..archives….documents….proof…Documents from Latin to teach…..curating, creating, constructing a text using super dictionary of art…
Specifically, in relation to Tate Liverpool – constellations….affect of light from stars in same constellation is simultaneous, even if one of, what looks like a neighbouring pair, is actually dead….
3D DOT TO DOT + TIME…..
“How do we interogate the artist?”
“Turn legal ownership into emotional ownership.”
“We all don’t know”
A talk at The Harris about British Folk Art.
The seas bigger than the house.
Alfred Wallis didn’t use perspective; the bigger a thing, the more important.
Could The Harris Open, in future, be re-christened The Harris Folk Art Exhibition? It could but the institution may then have to exclude any one who has had some formal art education – if that’s there definition.
“the efforts of amateurs…..” from Latin amator, a lover, to love
It seems like folk art maybe “a way in”, an inspiration. “This is a painting of” – Magritte; George Smart – Andy Warhol and large objects – Claus Oldenberg.
It is in institutions own interest to keep categories alive, to protect itself.
Self organise, so, self organ eyes, os, operating system…..
A definition of folk is “people in general”.
I didn’t give enough feedback on the evaluation form.
“There are many ways that you can signify to yourself that you are doing your practice. For example, some people wear a white lab coat or a particular pair of glasses, or always work in a specific place – in doing these things, they are professionalising their art. The notion that I do my work here, now, like this, even when I do not feel like it, and especially when I do not feel like it, is very important. Lots and lots of people are creative when they feel like it but you are only going to become professional if you do it when you don’t feel like it. That emotional waiver is why this is your work and not your hobby.”
An email invite from Incertainplaces to become a “critical friend”.