- Venue
- tactileBOSCH gallery and studio
- Location
- Wales
This show is a re-presentation of Glamorgan University’s BA graduate show. The eclectic collection of works illustrated perfectly the ethos of experimentation and exploration imbued by the course. The diverse and compelling exhibition includes, performance, photography, paint, ceramics, textiles and innovative sculptural uses of hosiery and meat. Given the chance to curate their own work in an open space instead of compartmentalised spaces, the now working artists have set up fresh dialogues with existing and new works.
The artists seem to have relished in the opportunity to play with the placement of works and as such there is an ad-hoc feel to its display, figurative and abstract ceramics are interspersed with landscape paintings and crisp graffiti canvases while in another area object based work is set amongst interactive and installation pieces. Ceramics landscapes created by Julie Matthews are placed in the vicinity of Calwyn Glastonbury’s micro-macro landscapes in oils, and they work in complete harmony alongside June Lloyd’s oil paintings expressing the movement of people within the landscape itself. As do the contrasting figurative styles of artists placed a little further along the attic space all dealing with difference as their main theme. Mandy Green turns hosiery into full scale figures with a difference. Confronting us with how we view people outside of our norms in physical terms. Agnes Corbett produces small and wonderfully emotionally expressive plinth based ceramic figures that ask us to consider the internal and psychological aspect of difference. Shaun Price produces canvases covered with layers of stencilled depictions of intimate encounters attempting to ask the questions about what is the norm in terms of sexuality. The works definitely benefit from being re grouped and re-situated, in particular Kristian Hayes’ sand blasted glass panels are far more visually compelling in a darkened room than they were in a white space. The clarity and depth of the images are improved and the atmosphere of the space adds an element of maniacal experimentation that you get in an old B-movie. Laura Bennett has displayed her natural tents in a far more intimate way that makes it easier to make the connection between nature and protection, isolation and oneness.
The opening event saw the premier performance by Susan Morris (aka Mrs Parry-Evans) and Tiff Oben (aka Mrs Wyn-Jones) of the Women Institutionalised Tea Stall. Over a period of thirty minutes the audience were lulled into a false sense of security with expectations of refreshment as the two ladies calmly set up their tea stall. All the while they passed on derogatory comments on the informal state of attire of potential partakers of tea. They initially placed tea cups and saucers just so taking time to adjust them in uniform manner. As the table filled their placements became more precarious growing into towers of crockery. The pensive audience grew larger and louder. After a short pregnant pause the ladies drew their weapons of choice – Parry-Evans the frying pan, Wyn-Jones the rolling pin, and without proclamation attacked the stacks of cups and saucers, smashing them gleefully to pieces. The audience reaction was as entertaining as the performance, shock and horror, soon turned to jubilant laughter as all delighted in something so carefully constructed, so domestic, so proper being un-properly treated and utterly, utterly decimated. Job done the ladies once more regained their senses of composure and after brushing away chips and shards from their persons, swept the residue of their annihilation into a neat and perfect pile, leaving the remnants behind as evidence of the event reminiscent of Clare Twomey’s Venice Biennale work ‘Epoch’.
Some of the premier pieces by certain artists are absent as they have been chosen for inclusion in the 2010 Purchase Prize. The artists either created new works or have included work previously un-shown to fill any gaps. Sian Leung presents us with three previously un-shown ceramic pieces that demonstrate a diversity of making technique and gives an insight into her passion for ceramic and structure. Julia Rowlands chooses to change the dynamic of her works from domestically situated pieces to plinth based objects standing alone in their small huddles. There is a continuance with these pieces from one material to the next ending up with a textile and photographic piece, still under construction, demonstrating the artists ability and need to play with materials to hand. Susan Morris chose to use her domestic installation as a vehicle to show film works created by herself and Tiffany Oben which now includes the opening performance. Also included is Susan’s comment wall where viewers are encouraged to express their opinions of the meaning of ‘woman’ in lipstick on a huge mirror. This added an element of fun while gleaning insights into the views of others, and this artist is all about seeing the funny side of the negative attitude. Tiffany Oben treated viewers to an insight of the many characters she has become over the four years of her development of her work looking into identity. This visual documentation is all the more compelling considering Tiffany’s ability to be completely convincing in a majority of the roles, some of them quite disturbing. Looking at the photographs the viewer is challenged to consider who they can be, who they are, what roles are they playing? Should we still have dressing-up boxes as adults, do we already have one?
The inclusion of these new pieces makes the show fresher for those who attended the graduate show and add energy. All in all this show while seeming to have no clear theme or aesthetic is an exciting one because of just that very fact. The artists and viewers are free to make associations, and draw conclusions where they choose without being guided by the nose. There is a freshness, an energy and sense of inquiry that is well worth the trip to the gallery and well worth looking out for the artists in the future.
