Category Archives: Exhibitions and shows

Exhibition; Local Artist.

Karen and Ian Record are a couple exhibiting at the Pie Factory in Margate in August, which was from a years work while living on a ship. Karen paintings are described online- ‘…oil pieces she uses a mixture of paint, oil mediums, turpentine and of course gravity to encourage movement of the paint to produce some beautiful effects. The layers and colours result in abstract work, organic in nature’

I felt the paintings were similar to the way I had started working with Enamel paints, often leaving the paints to bump into one another and watch , often mesmerised by the sloth like movement. I found her colours were far to intense and the spattering and droplets of paint pastiche. I was more interested in the harmonious paintings that looked like they were covered in moss, so the texture of the surface was something I wanted to look at more, this caught and captured my eye.

I view galleries as much as possible and don’t always share thoughts on my blog as I don’t think its relevant to write up everything, just the appropriate reflections or thoughts that relate to my studies.

My thoughts on this show was that it was very vibrant and the contrast with the reinnervated marine iron as sculptures was intriguing. It was a explanation of themselves, opposites attracted; the fluidity, brightness and delicate handling of  paint and the use of  hard, brutal, dirty metal;  the iron sculptures. I and others enjoyed the juxtaposition and I hope they sold some work but I did come away thinking that working solely with Enamel paint is to hollow, it needs more substance. Paint and Gravity is just not enough to entice me.

Exhibition; Everyday is a new Day.

May-September 2017 Turner Contemporary Margate

Phyllida Barlow and Michael Armitage alongside the MASK prize.

This exhibition is part of the ‘Art inspiring change’ project, where Margate primary school children have been working on injecting art to neglected parts of the town. The statement is of how important creativity is and how it can empower us to make a positive change. Central Margate is one of the most deprived areas in the UK, so encouraging children within this project should set up the foundations for positive change to carry on into adulthood.

Phyllida Barlow is currently representing Britain at the Venice biennale (2017). She makes large sculptures from everyday materials which are painted, texturised and cantilevered into positions of leaning into space.

Michael Armitage works make up a collection called Peace Coma. All the work was painted on Lubugo bark cloth and a video explains the laborious task of adapting this material ready for painting  or its traditional purpose of wrapping it around the dead ready for burial. His work is a powerful reminder of the political and cultural attitudes in Kenya society and constructs his work using western art history. For example ‘The Balcony’ , 2013 (private collection) is a reimagined Manet ‘The Balcony’ (1868) which  represents the cultural spirit of Modernity in Paris. Armitage work shows, not a fashionable middle class Flaneur but a lone Nairobi, lost in a world surrounded by advertisements; one being for M-PESA, a pioneered technology in Kenya to enable customers to make money transfers by phone. This work correlates with Phyllida Barlow ‘Towers of strength’ which is her rendition of a Balcony today. Where the Flaneur was represented by Gustave Coillebotte as looking out into Paris, The viewer being viewed while viewing is a cycle; of reality and imaginary. The creator of the scene but not creating the scene. Phyllida Barlows work is how the balcony today is just a phantom of a balcony, we see them everywhere in the city but they are no longer used or have been constructed aesthetically in a way so they will not be used, seen but not in use. A hint at a statement about society. Its extremely interesting that the image of a structure such as a balcony can have affiliations with such a variety of ideas.

I first saw the work by Phyllida Barlow at the ‘Entangled exhibition’ called ; untitled brockenshelf2015, 2015 made from timber, plywood, steel , fabric, PVAs, cement, tape, plaster , 120x300x110 cm. At first I was taken by the size and how far the messy colourful protruded into the room , almost like it shouldn’t have been there because it did look like something found in the bin after a carnival. I looked at this curiously , and if this was shown along side her other works such as untitled: holder 2014, it would have looked less bulky and roughly constructed and more playful. It was displayed next to the absolutely delicate floating works of Christiane Lohr. The contrast was very vivid and the reason was exhibiting the range of works created by women.

Barlow has always drawn and enjoys the freedom of Marks on the page, she has always worked these along side her sculptures but she tends to reuse her sculptures but her drawings date back to the 1960’s. In the exhibition you are able to see her progression through her drawings.

Barlow explains her progression of her later works;

…”trying to enjoy a lack of resolution, to enjoy a kind of sculptural sensibility”, and “just enjoying the quality of the paint, and moving it around on the paper”. (Exhibition notes)

References all cited on the 27th of August 2017

Exhibition review; Wolfgang Tillmans 2017

@Tate Modern feb-11 June 2017.

Over all this exhibition was hard to understand, so it should as its grappling with a view of the complicated world we live in today. You needed a lot of time to visit all the tables and read the magazine articles, Facebook feeds, pages from books and the academic notes per room. My favourite room was the music installation. Along a soft grey fabric covered corridor was a light room dedicated to listening to music and looking at all the systems that project that music such as speakers an equalizers.  Its called the ‘playback room’ and was designed for listening to recorded music. He defines the difference or shows the industries or the markets pretentious standards given to recorded music and how we offer space to live music but none to appreciate recorded music. He has given prominence within the museum setting to studio computer created music. I thought it was like sitting in a friends bedroom, when I was in my twenties. This space brought back memories of lounging around friends houses while they practice mixing records before going out to DJ at a club that night. All there equipment was top of the range so I didn’t appreciate the quality of the sound then or now.

He shows his experience of working with different mediums and the size of the photos jump around the wall as some are very large and others are taped on the wall eye level or bulldog clipped and located above a door. I would have suggested it being erratic but I understand this is part of the concept towards understanding the exhibition as a whole and not as individual images. This show is a personal response to the present moment and his role as an artist is to engage the viewer with themes of community, sociability, empathy and vulnerability. He explains this with examining the cultures of new technologies, the development of digital cameras and the effects of an online community.

Things that I learnt……

  • Tillmans relationship with his studio is different to a painters studio, or is it. I began to question what the studio space is and how that space could be used differently in the practice of painting. In the images we see a table , computer, printer and things stuck to the walls. He uses his studio as a place to plan exhibitions in architectural models, collects materials and generates ideas. This has become a subject and an  image for this exhibition which layers upon the connections of the exhibition being about individual images but also about the connections made between all the images as a whole. I learnt to re-evaluate my studio space and stop thinking about it as a work space and re brand it as a experimental laboratory.
  • ‘clc 800, dismantles 2011’ was interesting as its reminiscent of the subjects covered at the ‘entangled’ exhibition ( Margate contemporary spring exhibition) where we see an image of his 3 dimensional stages scenarios rather than the actually display. He says his work is ‘translating the three dimensional world into two dimensional pictures’ (Catalogue notes 2017) I like this concept of the artist only sharing with us the image of the sculpture and not the real sculpture, its relates to the essay by Jean Baudrillard ‘Simulation of the simulacrum’. The idea that nothing is real any more, its just a simulation.
  • His deliberate juxtapositions of his work in the ‘truth study 2005’ are suggesting an influence from the presentation of media where a distressing story about chemical warfare killing children can be positioned next to an advertisement for baby products from ‘mother care’ for example. This discourse leads to the gaps of knowledge and causes room for doubt which is where we are now with the issue of fake news and censoring by political parties. This study focuses on how the constructions of truth affect our psychological and physiological levels.
  • He works abstractly as well as documentarian and the idea where he works without a camera but creates within the dark room was something that I could do with my painting practice. Stop working with the paint, just see what the reaction is to the paint in different atmospheres , for example working with different mediums, materials, surfaces, using a hair dryer to interact with the paint and using the substance eccentrically.
  • By taping the photos to the walls you question why he didn’t frame everything and why some are large prints are left dangling in a fragile fashion. He is drawing our attention to the edges encouraging the viewer to interact with the photograph as an object rather than an image. You are always feeling like you are being taken away from the real exhibition and are only seeing the thought process of an exhibition that could have been. Its all disconcerting and disconnected from the normality of a gallery show, Like our society , we are within one but are isolated from one simultaneously. Is the whole exhibition actually an installation referring to Schrödinger cat?

Exhibition; Hockney @ Tate Britain.

On at Tate Britain from Feb- 29th May 2017.

I have looked to Hockney from the age of 15 so that’s 30 years. I have never seen this much of his work in one area, what really impressed me was the structure of the exhibition, you felt like you were walking through time while holding hands with Hockney. In the catalogue they explain that its a survey of almost 60 years of his art, Classic Hockney alongside his variety of use of media later on. My senses were Intune with the environment being depicted, its very relevant to this exhibition as the heat radiating from the canvases from his time in Los Angles and California to his more shaded quiet times in Yorkshire. When I was at art school , his photos were what I gravitated towards, because he is expressing the changing perception though the distinction between paint and photography, its all about understanding space, the perception of space and the experience of looking. These retrospective exhibitions , like with the Rauschenberg (Dec-April Tate modern 2017) are very influential as you are saturated with seeing their work, normally I see one or two works within a series of work that are connected tediously in pedantic curator style. This showing of all this work is so intense you almost need an interval half way round as it starts to lose its defining language. A problem with modern times is that we are saturated with visual language, we have stopped listening and conversing as such we have become passive spectators and lost our credibility in the act of conversing in the language of art. So when I see this much of Hockney together I thought I needed to tell myself  to keep observing each painting but it was to intense and very busy, so I just made notes about certain works that really affected me. The gallery and exhibition was very easy to get lost in mentally. I found I had to keep walking  as could have just sat down and watched the interaction between watchers and canvas. The last two rooms; videos of the changing seasons and the IPad paintings being played back, were the most popular. These rooms darker and you are standing shoulder to shoulder and being careful not to trip over as children sitting on the floor. The feeling of this area was intimate, people were responding by feeding their fetish of passive spectator, watching things unravel, paintings being created, landscapes hovering. They were all watching as in expectation that something was going to happen next, something other than what they were expecting. Passive willingness for replacement of our time.


Notes from Exhibition.

The painting of ‘Peter getting out of Nicks pool’ 1966 was rewarding to see this close up as the pattern used for the water is yellow and pink beside each other, these colours are not picked up on in photos. The painting was thinker than I had expected so I could see the layers of paint. In this room was ‘ the lawn being sprinkled’ 1967. Again I noticed areas of paint that were dealt with differently such as the a spray of paint was controlled and then dabbed for bigger drops , its also a good example of aerial perspective. I was much more observant of the patterns used in his work such as ‘Henry Geldzahler’ 1969 where the glass top table and spectacles are surrounded by diagonal lines. His colours are fantastic and have noted down an interesting pallet such as

  • Brown sienna
  • Cadmium orange
  • Cobalt blue
  • Azure blue
  • He often works on a white background so his colours are bright.
  • Scrapes paint with a comb, its a pattern used in his compositions.
  • Green skys with blue violet.
  • Desires to work and master a variety of media
  • Variety of line and luminosity of colour.
  • ‘ I do not think the world looks like photographs. I think it looks a lot more glorious than that.’ exhibition catalogue; 10 the Wolds.

Exhibition-Entangled, threads & making

Turner Contemporary Spring 2017 Exhibition.
Fantastic and outstanding display of creativity from the carnival sculptures in the foyer , the carpeted gallery service lift which was painted to the pendulum black taffeta.

‘The exhibition brings together artist from different generation and culture who challenge the boundaries between craft, design and fine art, and who share a fascination with the handmade and the processes of making itself’ exhibition leaflet.

Over 40 international female artists who work with knitting, embroidery, weaving, sewing, wood carving and jewellery that combine found objects ,waste material such as the left overs after cutting out the pattern for dress makers and plants, horse hair and bird quills.

The only problem with this work is that it’s so tactile but no one is allowed to play with the works so the works that are able to be replaced or maintained are the most enjoyable and when placed in rooms along side the more delicate untouchable works then you are able to move through the show with less frustrated temptation.
SAMARA SCOTT, OLD LAKE 2017- b 1985-

Carpet, yoghurt, plaster, food colouring.

British born artist that often works with site specific locations like the service lift at the Turner Gallery. She characterises her work with rich colours, natural and artificial, the synthetic and organic, an engaging implication with contemporary CONSUMER society. She likes to work with installations that ‘nestle’ into the location.
Maria Roosen b1957. When I Think of you 1998

Machine made embroidery and wood.

A Netherlands artist that started sewing a line at a time in her life when she was very sad after the death of her partner. The first line was straight and long and then she kept trying to copy it over many days or weeks. The purpose of coping with the aid of the sewing machine allowed her to focus and each line represents her time of healing and thoughts while working away her pain.

Marion Baruch. Cologne, 2015

Woollen cloth. Romania artist b 1929. She sourced the fabric from the fashion industry after they have cut out the patterns for products. Baruch has taken the negative fabric and turned it into a pice of art and by doing so has given it new life. She selects the pieces to use and then plays with the orientations to creat abstract compositions . “The first time I pulled one of these fabrics out from a pleas to bag, I felt as if I were looking at a Klee(Paul)”

Rivane Neuenschwander. CASOS EROTICOS (EROTIC CASES) 2 2014

Silk tread on fabric.

Rivane (b 197, Brazil) IS Knowen for her contribution to the Brazilian conceptualism and her use of ephemeral materials as they provoke certain emotions. The reference is to the chance made when making these works, she has dropped string onto fabric napkins (the detailed pattern on the napkins AIDS as a frame ) then she embroidery the outline. The shapes that emerge are considered curvaceous, twisting, sensual as they are organic and created by chance, this approach relates to other abstract practices by artist such as Marcel Duchamp and John Cage.

Christiane Lohr B1965- German sculpture.

6 miniature sculptures made from grasses or plants.

Aiko Tezuka

Loosening Fabric #6 (entangled 2017)

B 1976 Tokyo. She unraveled the treads of existing pieces of fabric, working with assistance as its painstaking delicate work. (1 hour to unpick 10cm of fabric.) the resulting work spills out to impersonate a looming process that once occurred to create the work that has reversed it purpose. The viewer is so engrossed with this warped thread as you can’t seem to help yourself working out the process , was it the beginning of the weaving or somewhere in the middle. Once you read the description your even more amazed as its been hand unpicked from its original form.

Laura Ford. Penguins, 2012.

Steel, plaster, fabric.

Laura Ford (b 1961 Wales) creates these fabulous human like animals sculptures. They are the same hight as an ten year old so this makes them even more adorable and friendly. ‘Sculptures dressed as people dressed as animals” She has grouped them anxiously looking around the bleakness and towards global warming. She takes the walls of the gallery to suggest an out of place environment for her sculptures and acknowledges a fun side but explain a dark side which the viewer is a wear of.

Paola Anziche. Natural Fibers, 2016.

Installation of 37 mixed , single media pieces, Chenille, mohair, alpaca, hemp, cotton, jute, wool, twine, raffia, paper, cord, grass and string.

Italian artist (B1975) is inspired by the Latin American interactive artist LYGIA CLARK. SHE WANTS PEOPLE TO ENGAGE CLOSLY WITH THE MATERIALS , enjoy the experience. By putting the woven hat like piece on your head you can observe others doing the same thing, you both see each other interacting with the art work. A group of students were taking a group selfie and they looked like they were all attached to the high ceiling via woven old fashioned hair dryers. When I stood to look up into the woven hat objects they are like funnels encircling up towards the ceiling, all hanging at different heights . They reminded me of Virginias and how Freud would call them objects for penetration. The fact that they are styled on hats makes me think how erotic close knit hats (Beaney) could be…..

Grayson Perry- the vanity of small differences.

Beaney in Canterbury , October till December 2016
This is a small exhibition and realy wanted to buy his sketchbook but was £40, I was interested in how he connects all his ideas together and how he make decisions on what to narrate.

I understand he reflects to the past Renaissance religious paintings for guidance with compositions and modern day delemars for topical exploration.

These tapestry are inspired by the 18th century painter William hogarths moral tale  –

When Hogarth embarked on his second Progress in 1733, ‘the rake’ was a long established symbol of masculine waywardness and depravity. An inveterate consumer and ‘man of leisure’, the rake of convention fritters his fortune, usually inherited, on sex, drink and gambling. Along the way he amasses huge debts and seduces, impregnates and abandons at least one young woman. As with the prostitute, a literary convention had developed in which the rake starts life as an impressionable young man from the country who comes to the city after inheriting money and swiftly embarks on a dissolute life. His fate typically involved venereal disease, debtor’s prison and death.

Grayson Perry tapestries are centered on the dramatic fictional life of Tim Rakewell. He develops his life from a lower class beginning into a wealthy man who sells his company within the modern world and then his untimely death in a bloody car accident.

The people he has interpreted within the work are from Essex, this gives an eccentricity and British glam depiction. They are peculiar, just like Perry; a plethora of rich life being celebrated and hung majestically as a bright colourful tapestry.

I am currently weaving a rug on a hand weaver. It has taken a year so far and I have created a meter long runner with another meter to go. I wish I had Perry’s machine that weaves his massive works. But it’s not just about the technique it’s the ideas behind the work, the compositions, the art work becoming theatrically scripted scene by scene.

In the Artical linked above from the Guardian, he comments on taste and  where it originates from. Weltlanschauung is German for World perception ; a particular philosophy or view of life; the world view of an individual or group. The perception of what is good and poor taste is just a perception, a mater of opinion by the spectator. Pierre Bourdieu (1930-2002) work called ‘the social definition of photography ‘asks questions about etiquette and rules of perception ; what our expectations are- barbarous and ignorant or cultured. I don’t feel a need to express myself in defining my taste as its a personal fundamental opinion that has transcended and hugely connect to my ideology. I like to reference work that I call my favourites, these are works that connects with me, for some reason that I like to give attention to within the conformity of this learning blog.

Georgia Meodows- Stitched drawings

Georgia Meodows has worked as a occupational therapist and helped elderly people for a long period of time. The exhibition asks the spectator to think about what they are giving meaning to, with questions such as ;are they hugging or holding each other up and she doesn’t smile because she has no more teeth and her jawline now is dropping but she is very happy to see her family. These drawings on the soft fabric with the medium of soft thread softens the harsh reality of the problem we all face – old age.  My favourite was the two pillow cases , one was of an elderly lady who is within the care of an Instutions (such as a home) and one is of an elderly man who looks after himself , with the help of his family. She is clean and healthy but feels sad, isolated and neglected by her family. He has bed sores and is smelly but is happy when his family visits. This exhibition questions moral views and what we see isn’t alway what is moralistlcaly correct.  I came away from this exhibition thinking -We should interact more, even if it’s just a smile.

I think the media and the technique where the artist has used very precise detail with little detail and the connection with the padding connects a need to interact with these works, I could feel a need to reach out and felt the padded cloth.

This exhibition is Accompanying the Grayson Perry exhibition at the Beaney in Canterbury from 24 September till the 27th Novemebr 2016. I can see the relationship between the two artist. When Grayson Perry showed his ceramics at the turner contempoary in Margate in 2015, I was excited by the use of a craft medium such as ceramic vases to send a message to the fine art world. Not everything has to be about paintings , films and installations for it to be considered an exhibition. Using fundamental objects and mediums can be just as powerfull such as fabric, thread and ceramic. It is reminiscent of home wears, things that we decorate our home with so they are considered safe , soft and cosy – decorative. But for Meodows and Perry they are exploiting the decorative sense as a medium of signifying modern day delemars.