April 2, 2013
Pictures taken at Tatton Park, Cheshire
March 25, 2013
I emerge into MediaCityUK Square, a group of photographers have their cameras set up and all are pointing in my direction. I have made it, and go to take my place along side them. Seconds later, a line of people dressed in morph-like suits hooked up with bright blue LEDs on their arms and legs come jogging surprisingly quietly down the same walkway I have just come from. The line gets longer, until there are around 80+ light-morphs streaming past…Continue reading my review at the a-n website.
January 24, 2013
January 22, 2013
November 30, 2012
I recently completed an internship with Castlefield Gallery. The gallery invited me to work with them at this year’s Manchester Contemporary, a large art fair which showcases numerous well-respected galleries. It was an opportunity too good to miss and I was delighted to be asked.
Castlefield Gallery is a vibrant cultural hub of Manchester, it has been going since the 1980s and prides itself on continuing to support emerging artists, as well as showcasing national and international artists. The gallery recently, and rather controversially, lost its Arts Council funding and was put in the difficult position of having to re-think its business model and way of working. The gallery faced the challenge and has come up with new plans, yet has maintained its cultural ethics and continues to support artists from the North West and beyond. It also raised an unprecedented £33,000 in an auction of artworks donated by artists it has supported, and bought by patrons of the arts who did not want to see such an important cultural centre in Manchester disappear. I think this demonstrates not only the robust nature of the organisation, but also the cultural sensibilities of the society in and around Manchester, one which recognises its assets and fights to save them.
This leads me onto the internship experience. I learned much about about representing the gallery at the Manchester Contemporary (all of which was very useful to me), but instead of listing this here, I will merely offer an observation about the function of the galleries and cultural organisations that were represented. Each and every gallery I encountered, whether they were new or more established, were supportive to each other. They were open and interested in discussing their artists and the general cultural concerns facing arts’ organisations today. This was also supported by an interesting programme of talks by the galleries and organisations, well attended by those visiting the Contemporary.
Jumping forward a couple of months, I attended a panel discussion about the future of the arts in the North. This was held at the Whitworth Art Gallery and was in aid of the complete bound edition of Issue 3 of Corridor8, an extremely insightful journal currently focused on art in the North. Presentations were given by the Workplace Gallery in Gateshead, Project Space Leeds, Ian Rawlinson (artist and academic based in Manchester) and Maria Balshaw, the Director of the Whitworth and Manchester City Art Gallery.
Each of the presentations gave a view of the North as a thriving place for artistic development and the positive plans for now and well into the future. One thing which was addressed was the comparison to the art institutions in the South of England, and the differences and challenges faced by those in the North. What quite clearly came through was that not only is the North flourishing with the artistic talent it produces, but it is also fully connected with the ‘art world’ as a whole. This can be highlighted by the commercial success of the Workplace Gallery, and the critical acclaim reached on a world stage by the Manchester International Festival. Despite these achievements, Maria Balshaw made an interesting point about the flexible nature of working here, that it is possible to take huge risks which might not be conceivable elsewhere; and that the North should not focus on growing bigger, but only more interesting.
As this panel discussion went on in front of a packed audience, there were numerous other art openings and events around the city. These included Castlefield Gallery’s “Tatoo City” and the residency at the newly formed Lionel Dobie Project, a place which supports emerging curators; along with many other events too extensive to list fully. It was not possible for me to get to all of these, but to be able to have the choice on a cold Thursday evening in late November, shows that there is a lot going on, and it certainly isn’t showing signs of slowing.
October 12, 2012
We made the short hop across into Yorkshire for the Leeds Light Night last week. An evening of activities, exhibitions, installations, films and general liveliness which took place well into the dark of night across the city. The map of events was full of things to see and do, far too many for us to get around them all, so we planned some activities and stumbled across others while en route.
I was keen to visit Leeds City Art Gallery‘s ‘Drawing Sculpture‘ exhibition, which displayed work which presented a link between the act of drawing and creating sculpture. It was an interesting exhibition, supported well by the accompanying essay by Anna Lovatt in the exhibition catalogue. However, before we even stepped foot into the grand gallery building we came across a group of Indian musicians and dancers playing outside the entrance, drawing a crowd of visitors keen to have a go. At one point, when there must have been at least 100 people dancing, it felt as if we had stepped into a peculiar new type of exercise class with everyone following the moves of the main dancers.
After an autumnal soup break in the decadent tiled cafe, we put our names down for some light painting with artist David Shearing. We timed it perfectly as it was particularly popular and they had to stop admitting visitors shortly after our turn. Armed with a plethora of glowing toys we created some light drawings via projection and computer software, which mimicked the action of light painting on a camera with the shutter left open for a few seconds. Our effort wasn’t the most artistically thought out, but it was fun nonetheless!
We exited through the inflatable dome, squeezing out of the tunnel like Ace Ventura out of the Rhino’s backside. Fun, yes. Flattering, no. There was no time for embarrassment however, as we ran (responsibly) through the gallery to the showing of ‘Turning at Right Angles to Midnight’ by Andi Noble and Matt Collins. It was a beautiful glimmering delight of sound and lights.
Other highlights of the evening were the video and animation projections strewn across the walls all over the Leeds College of Art building, showcasing some exquisite talent from the young artists. Ending the evening we came across some ladies dressed in some strange attire, looking rather like beautiful zombies who were on their way home. We stopped to ask what they had been doing that evening and they told us that they were singing as they are an a cappella quartet and offered to sing us a song! They did so, and by the end of it we found that a crowd had joined us in bopping about to their smooth, smooth sound. The perfect goodbye and end to the evening.
September 2, 2012
A few images I took on a wander about Paris. The weather was changeable.
August 27, 2012
I designed ‘Happiness II’ to create a temporary projected document on the pages of the book using sunlight. I re-appropriated a line from a Stephen Dunn poem to visually highlight the transience of happiness. This meant that sometimes it would ‘work’ and other times it would not, depending on the lighting conditions. The first day it rained, but in the evening the light from the street lamps activated the work, which surprised everyone, including myself, as I had only really designed it with sunlight in mind.
The sun came out over the next few days, which made the piece work as intended. This certainly pleased me, but as an artwork that highlights the transience and intangibility of an emotion, it would have fulfilled its conceptual purpose whether the sun came out or not.
One thing I did not anticipate was that the graffiti acid-etched into the gallery window, which also projected onto the work at times. At first this frustrated me, but then I realised that I had created a piece which was ephemeral and relied totally on outside factors to work or not work, and this was something I had to accept. The graffiti was a part of the city, and that was literally becoming part of the experience of my work, for better or worse. Not unlike the experience of happiness.
July 4, 2012
I will be exhibiting a piece of light art as part of the Haecceity Project at Nouvel Organon Gallery, Paris 13th-16th July 2012. I’m really excited to be part of this project, which has already had international press coverage as far as Mexico in newspaper, Excelsior. The exhibition features work from a range of international artists, under the theme of ‘the visual image and literature’. Not only this, but over the weekend there will be live music and drinks, with other activities being planned as I write. So, if you’re in Paris next weekend, please do come along! Go to the Haecceity Project website for more details.