Frome Open Studios 2019
provided an opportunity at the right time to exhibit my own work in my own place along with fellow art graduate and mate, Jo Waterworth, ceramicist. We called ourselves Watermeadows combining 2 surnames. We realised half way through, part of the affinity between our 2 areas of work that we showed was rivers and mud! My series of etchings from drawings made from the dredging of the River Brue, Jo’s ceramic pots and masks had slip from Mendip mud, bonfires etc. I showed an equal amount of other work from my interest in emerging and disappearing figures and now including swans
Our 121 visitors showed engagement with our work, engaged us in conversation, and we had a few sales! very much appreciated! and further opportunitites
So onward with an exhibition for me at http://www.bluecedarprintworks.co.uk/ Glastonbury pv Friday 13th of September until mid October and thoughts of possible artist book on Clearing the River Brue
It’s been a great formative experience to be part of the 44AD associates exhibition, both in terms of my own work receiving positive affirmation, and seeing and participating in the gallery with other artists, some of whom I know a little. The planned visit to RWA with Stuart Geddes will add to this.
Future plans as I continue to create new work, print, collage and painting, the camaraderie of other artists is important to be process, particularly at Sandra Porter’s print studio. The subject of my work continues to be concerned with the allusion towards the figure. Recently both male and female, in my drawings and prints of folks clearing the riverbed at Bruton.
This whole positive process has led into the decision, to become a part of Frome Open studios, to be a venue for my own work and that of Jo Waterworth ceramic artist and poet . We’re going to be ‘WaterMeadows’. Watch this space!
I started work on a collage that I had worked on 18 months ago, looking at a whole range of images that I had worked with in the past including trees, emerging and disappearing figurative images. The fact was that I have moved on both the work I’m doing, my use of materials and processes and of course the end results. the image below is part way through the current re working. Ive brought together both the red haired woman and an old painting of an Indian bean tree. Currently I’m experimenting with the image by adding gold paint, a bit of Klimt influence possibly. The featured image at the top of this post shows progress to date
Untitled work in progress August 2018 Collage
This Graduate exhibition has run its course, its been a learning curve both showing my own work and dealing with the complexities of setting up a rota involving 35 participants! All in the past now. Near the end of the show I was energised by the sale of my second of the Yellow moves painting to someone whose experience of the Art world is much greater than mine. This painting Yellow Move 2 was put together very shortly before our work was sent to London. it was not thought about or considered in advance it just came! In fact it was too late to be part of the exhibition and therefore was placed in the exhibition shop. The image came about from an image made of a model moving in a life drawing session, which I took into my series yellow move . I experienced this sale was a real compliment.
Within the exhibition itself I hung ‘2 right feet’ based on the topic of bodily imperfection, and rerefered sometimes coordination issues something that I am familiar with, and issues surrounding ageing
and yes I will go on, certainly with more work including more Yellow moves and hopefully in time more formal as well as informal study.
I also exhibited a photographic work, ‘Letting the Light in’ experimenting with twinning images this time on the far from white wall! Both of these works introduced I felt a spookiness
A last minute entry to this exhibition, somewhat quirky. It needed to be the size of an LP record. So I reappropriate a piece of my own work, update it, add some seasonal sparkle. A tad lazy. But would you expect otherwise? Outside the frame. So Katie whose curating looks at it as such. Now it’s received a new name, thanks to #LenFour-o at http://www.44ad.net/ 44AD; renamed Howard the Owl, remembering Howard Hodgkin!
Back at Bath Spa again for the final part of my 3rd year of the Fine Art degree.
A dissertation to write and a presentation & new website to construct for Professional Practice.
Had a very art based weekend,
- Friday at Frieze Art Show
- Saturday morning stewarding at Black Swan Gallery in my nearly new home town of Frome. the amazing show by Gladys Paulus is just so evocative I will continue to tell everyone about. felt costume images of her family history
- Saturday evening at the PV for Wells contemporary art show WAC entitled Rewind Its basically a review of the recent winners of the competition following the death of Kate Noble who was a leader in its inception.
Where will my own art work feature in what I am doing as the Studio practice element of the degree is now complete.
To some extent there is a relief that I can just take sometime to consolidate without having to constantly put everything out there for scrutiny
Well practically all I have done re my own work is begun to create a new white base layer on a collage I completed sometime ago. and from here?
Well that’s part of my studio space as it stands at the moment . Better late than never!, This newish piece are the my 3 right feet, reflecting both the reality of the imperfection that comes with ageing, and issues surrounding coordination, in the studio this stands above and some work I’ve been trying with different grounds with added texture and a moving figure, you will see this later.
There’s so many fun comments coming from the idea of 3 right feet, thanks Gary Corbett for the yard one! I had thought I’ve got 2 left feet why not 3 right ones!
Also thanks to Ra about compliment re moving figure on yellow! But as I said you will see that later.
I also love colour, so the white background is a bit different for me, I’m naturally drawn to colour and the experience of vibrancy in everything I do. But humour will survice for now.
As I am working through various options for series paintings /pastels my images are becoming lighter, it feels more ethereal, making suggestions rather than statements.
So although the previous ones have been about the body these pick up on lines marks on the jezzo or canvas giving a very different feel, and is very much something I have not done before. Its also interesting to me that with the previous blog about imperfection there were errors in making, here there were not really errors at all but using natural blemishes and thus a connection to skin.
Avis Newman (Tate modern search) has been a great inspiration with this with her gestural works painted on canvas that she hung on the wall during the 1980s.