Colour Block the Link

We’re going to take last year’s colour blocking fashion and apply it creatively to the Link Gallery in a curated exhibition on 27th February – 2nd March.

We are looking for textiles or works on paper which are predominantly one colour, or combination of two colours, which we can display so as to colour the Link Gallery into a bold exhibition. The work does not have to be an item of clothing, it just needs to be bold and colourful!

Please submit a photo of your textile or paper-based work including dimensions to mmulinkgallery@hotmail.co.uk by 8pm Tuesday 14th February.

You must be available to install your work from midday Friday 24th February and take it down again at the end of the exhibition the following Friday.

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I recently exhibited my Light Paintings and a Light Sculpture at the ‘Threads’ exhibition with Roger Bygott and Hannah Leighton-Boyce at the Link Gallery.

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I used electrical tape to frame my Light Painting projections, this was necessary to create a defined area for these works as they work with light and shade, so the shaded parts would have been lost without the frame.

I made my sculpture in response to the unusual shape of the gallery. I used white thread to reshape the space in a mix of sharp angular shapes, some covered with paper as platforms for the bright slowly moving projections to bring the sculpture to life. The light from the projections catches on the strings, illuminating them and giving a sense of movement. The shadows cast from the sculpture also moves across the back wall as the light and dark areas of the projection slowly shift across the space.

Here is an extract from the installation view of my Light Sculpture:

S-Space

January 5, 2012

S-Space was an 8-week group project based on the theme ‘Success’, with the question ‘Can success exist without recognition?’ as our focal point. We started the project with a gallery opening with no work on the walls, a logical, albeit slightly ridiculous, conclusion to the question as we decided to recognise our success before we had even had it, therefore taking the pressure of recognition off us. We did wonder how the opening would be received, and to our surprise it elicited an interesting response from those who attended. Many came for the free wine and wandered off quickly as there was nothing on the walls to keep them there. Even if someone is attending an opening for the free wine it is usually customary and basic courtesy to at least scan the work on show, but here intentions were shown clearly. More people than expected did stay to debate the question of success and recognition however, for which we have recorded some of the conversations and put them on our dedicated S-Space blog.

The opening marked the start of a week’s worth of social experiments within the gallery and gathering of data along the way. All of these are documented on the blog, but my particular favourite was the wall of post-its which people gave their answer to the question ‘How do you recognise success?’ I then created a poem using a cut up technique of the words from the answers on the poster to condense the meaning of the answers given:

With a heart stopping view from a mountain top

I am smiling.

Happiness,

A sigh of relief, I’m at one.

 

Money, love, a warm glow.

Producing something worthwhile

With friends and family

 

Happiness. Happiness. Happiness.

 

When I feel good 24/7

Have self pride and a pony.

When I don’t fail

And don’t listen to anyone else.

 

Working towards a soul

I can achieve.

 

Success!

 

Learned through failure.

Not regretting

 

Possibilities.

After our week of experimentation we decided on a concept piece which would reflect the dichotomy between outer success (the media, monetary) and the inner glow of success experienced within home life for example. We built two large cubes, one within the other and covered both with soluble fabric which we would dissolve in a performance at the end of the exhibition to show the fragility of success. The cube could be entered into by visitors, projected onto the outside were two videos, one using found footage and collage to address the media view of success, and the other a stop motion to show the visual transformation from an individual into the homogeneous Western view of an attractive woman (skinny, blonde hair, big breasts, pink lipstick etc).

In the cavity between the larger cube and smaller internal cube we placed red strip lights to create an inner glow which visitors would experience upon entering the piece. This diffused the projections from outside to focus on the inner glow like a protection from outside influences. I had done some research on the colour of success (psychologically) with few meaningful results. Most data suggested a deep red to signify success (used in ribbons for winning for example) and some research suggested that football teams that wore red shirts tended to win more tournaments, that somehow the colour could get them into a winning state of mind. Colour therapy research didn’t specify a colour for success per se, but a deep red did come up in associated feelings. The only areas which specifically offered colours for success (deep red) were the slightly dubious (scientifically) areas of crystal therapy, horoscopes and colour symbolism. So, the results were frustrating, but perhaps they were always going to be – as we found from our research, success is a fairly nebulous concept which is recognised by people in different ways.

The final dissolve of the cube was recorded as a performance piece, two of us walked around and squirted the soluble fabric with water which slowly degraded and destroyed the barrier between the inner glow and outer influences of the projections.

Follow the full progress of S-Space on the blog.

The others involved in the project are: Darren Murphy, Amy Lawrence, Margaux Illescas, Miriam Cabeza

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A ball hangs in the corner of a room in Magritte’s painting ‘The Secret Life’ (1928) recently shown at the Tate Liverpool exhibition. The spherical ‘thing’ appears to be in a state of being/existing in the space, whether we are there to view it or not. Although it was hung in a room full of people, I felt as if it was very much alone and I had intruded on its quiet existence, like coming across a ghost. This was the starting point and inspiration for this exhibition. The work on show is varied to say the least, but within each piece there are intriguing characters within dreamlike or surreal situations.

Starting with my own work ‘Phantom’, the sculpture is the conduit for the light phantom, giving the ephemeral being a place to exist and become whole as the light passes through the layers of fabric. Roger Bygott uses light trails in his film ‘The Photographer’; he came across the anonymous photographer while walking in North Wales and filmed the man absorbed in his own world, conjured up as if part of a dream. James Ackerley’s ‘A Brief Memento of an Intangible Dreamscape’ could almost have come from the place Roger filmed his photographer and is presented as a surreal souvenir.

The middle hexagon holds the eerie photos of Anna Heaton’s twins, blankly staring out of the picture. Matthew Barber’s photos, ‘Stranger Danger’ are based on the fear of walking home at night and how the mind plays tricks on you. The photos are similar and their repetition and placement is to make the viewer look twice at each to see the differences, to pick out where the man in the picture has moved to next. These photos frame Karol Kochanowski’s ‘Self Portrait with Elephant’, an absurd situation in a beautiful landscape to symbolize the burden of everyday life, and his ‘Breadcycle’ a piece exhibited two years ago as part of his Foundation course, which has changed with him over the years.

John Brindley’s ‘Echoes’ and Caroline Whitemore’s surreal paintings use doors and pathways as symbols in their work, which I have placed together as quite literally the doorways to the next section of the exhibition within the Foyer.

Amy Lawrence’s piece ‘Mushroom’ shows a woman pregnant with thought and imagination. Helen Wheeler’s etchings create an intangible dreamscape. Both artists invite the viewer to make their own interpretation of their work, however I feel that they are both reflective of the artists themselves, Amy’s imagination literally growing from the image, and Helen’s layered with depth of meaning.

The show reel of films from Liam Healy (‘Pray’), Fabian Beickhorasani (‘Signon’) and Exposure’s nominee Michael Scott (‘Alice in Space’ and ‘Tastes Better’) are set on two projectors to continue the ‘look again’ theme of doubles running through the exhibition and to wonder why the images are not quite the same.

Finally, there are two very different boxes which can be entered into, one is Roger Bygott’s ‘Shaman’, an ambiguous character who is difficult to decipher, keep an eye out for him as he may be in and available to give divinations, or his spirit could be left guarding his home. The other box is Robert Grundstrom’s ‘Cubicle No.2’ the dark part of the psyche which can be entered into at your own risk.

Many thanks to Roger Bygott and Paul Tutty for their help in setting up the exhibition, and to the participating artists whose work was a pleasure to curate.

Elisa Artesero

Curator

It’s the end of the year show for first year Interactive Arts students from 9th – 13th May. I have put up prints of some of my Creeping Light and City Lights prints and a silent film of my Luminous Man.

For fuller details and more pictures of the exhibition as a whole, go to the Link Gallery blog.

Blue Link Exhibition

April 5, 2011

The Blue Link Exhibition opened last night, all the work put into it certainly paid off as there was a great turn out and lots of good feedback. The exhibition continues until Friday 8th April.

My inspiration for the Blue Link was a desire to cover the gallery space with work of one dominant colour theme to make a visually impacting exhibition. The work is a range of submissions from across the faculty and although together in a colour theme, the individual style of each artist creates a varied and interesting collection.

The foyer space contains work which is primarily of a ‘real’ or physical nature progressing to more abstract pieces within the Link itself. Each artwork has been positioned in a particular order to pick out similarities in theme, colour, size or pattern.

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The Blue Link Exhibition is the final exhibition of the term, I’m really pleased with the outcome and would like to thank all the exhibitors for their artwork which has made this exhibition so good.

I’ve really enjoyed curating the gallery this year; next term is almost exclusively going to be used for assessment shows, so although I will still be involved to a certain extent, I will take a bit of a step back. This year has been an opportunity to really take control of the space and show my organisational and curatorial skills and to publicise the gallery through the blog I set up. I’m pleased with what I’ve done so far, but I have also learnt so much that I would like to put into practice next year.  I intend to push for even more ambitious shows to build upon the standards set so far.

Blue Link

March 23, 2011

I am putting a call out for submissions with a blue theme for an exhibition at the Link Gallery from 4th – 8th April. The work can be of any medium but must have a dominant blue colour to it. Please send photos of the completed work you wish to install, together with dimensions and any special install requirements you may need by the submission deadline of 26th March to mmulinkgallery@hotmail.co.uk.

I will curate the exhibition but you will be required to install your own work, so must be available to do this at midday on Friday 1st April. I look forward to receiving your submissions for what I hope to be a brilliant end to this term at the Link Gallery!