- Sunday, January 31, 2021
- Monday, February 8, 2021
- https://us02web.zoom.us/j/81985063926?pwd=QnZVNjFudklEV25HVmJGb2VuNHk1dz09 Meeting ID: 819 8506 3926 Passcode: 962020
- Across UK
- Alice Bradshaw
February 2021 Art Lab
Monday 1 February 2021, 8pm
Presenting: Andrew Fitzgibbon, Clare Smith & Micaela Vivero
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Meeting ID: 819 8506 3926
Art Lab is a monthly meet-up for artists and art practitioners to discuss their work, concurrent ideas and critical thinking. It’s open to anyone who would like to attend and contribute constructively. Art Lab is for sharing ideas, mutual learning, peer support and networking. The format is two/three presentations by artists / practitioners about their work / ideas / interests: 20-30 minute presentations followed by Q&A.
Art Lab welcomes all art practitioners at any stage in their career and operates a safe space policy. Art Lab is coordinated by Halifax based artist/curator/writer Alice Bradshaw.
I’ve recently completed my photography BA body of work, which is presented as a short 10 minute film. ‘Leeds and Liverpool | Worlds within a World’ is a poignant wander along the 200 year-old deindustrialised canal, showing humanity’s use and abuse of space. Its psychogeographic narrative, voiced by Paul Butterworth (The Full Monty), overlays an ambient soundscape and sampled oral histories.
Clare Smith was born in Penang, Malaysia and was educated in England. She studied Oriental studies in Cambridge before spending 15 years in Luxembourg, returning to England in 1999 to study art as a mature student in Canterbury Kent and realise a long-held dream of making a life in the arts. Her mixed English/Chinese heritage informs her perspective on issues of identity and categorisation. Her nomadic childhood and early adulthood have meant a somewhat ambivalent relationship to place, reinforced by the sense of ambiguity that comes from her mixed identity. Smith works across genres in drawing, print media, collage and moving image. Through her choice of materials and approaches, she creates work which attempts to create a sense of unity. Her recent work reflects a growing interest in place and memory and a stronger focus on the autobiographical. There is a delicacy and fragility to some of Smith’s work, which reflects a constant sense of the precariousness of physical existence and a concern with healing.
Much of my work springs from a desire to make visible what is already there but not seen or respond to the already-there, to show the simultaneity and side-by-sideness of leisure and labour, cultural and industrial activity and to think of these juxtapositions as being on either side of a boundary that is where we find the in-between.
Drawing is a way of slowing down time I become fully absorbed in the process, often not feeling present in the world but present on the paper.
I am currently showing 18 of my chemo day drawings at Sheffield Northern General Hospital – my first major show.
A critical idea in my installation work involves the conceptualization of installations as associations between viewers and space. An installation entails many relationships: between the viewer and the art, between structure and movement, and between space and circulation. In my own practice, I think while making. I make through lines, volumes, colors and space, which are my tools. I create relationships between my work and the spaces it inhabits. I make artwork out of soft, malleable, porous materials, which many times are suspended and take their shape through the relationships with other elements that form the work. In my work, through these relationships, I privilege empty space over mass, lightness over weight, movement, precariousness, fragility, ephemerality and instability over stability. The pieces I create become large-scale sculptures or multi-object installations in which the viewer must move and participate with their presence. I approach my installations as compositions in space in which I create an opening for the viewer to circulate through the installation, experiencing it physically, emotionally and visually. I create environments that are larger than human-sized. I want them to be monumental in scale, making the viewers feel small in relation, and questioning their own sense of self. The audience’s experience while circulating my installations, is of extreme importance to me. The act of circulating the installations I create, is a journey of introspection and discovery, which leads ultimately to establish connections between the viewer and the art.