Louise Bourgeois H & W exhibition

art, Exhibition, feminism, Louise Bourgeois, memorial, somerset, study

I have found this exhibition of Louise’s work really encouraging,and evocative, prints botanical and humanity, textiles and sculpture addressing the psychological, made in the later part of her life ie 80s and 90s! and working through her life and experiences as she always did. The wording alongside the printed image above’ I’m losing my mind, my feeling, the keys’ ( yes I know that experience). I went to a seminar there yesterday which looked at Louise in her context of becoming famous in her 70s when she was known and worked with well known others decades before.The position of women artists historically, and the reality of it being an issue still. An argument for the end to a chronological approach. Reflecting   quite a lot of attention on current  printmaking and artists books with subversive message and meaning. Often Women artists publishing them now. Hope? or as there was discussion still an appropriate theme? A young student responded yes we still need these issues raising as we know they are still current

 

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Weeds, Herbs or Bodies?

art, Garden, herb, Uncategorized, wildlife

Whilst returning to work on body drawings I have also been following up on medicinal  botanical herbs that I became interested in, by the discovery of what I thought was a voracious weed at the bottom of the garden! Described by the Guardian as one of those that have come from overseas in Public Enemy No 1 This continues to lead  to  further drawing and some print making, so far I have identified my plant  as Petascites Fragrans or Winter Helitrope and have been sent to the site of Giant  Petasites Hybridus (Butterbur) by a local botanist, the Giant is a native, so less problematic . I hope to return to do further drawings for print making  on Saturday.

New place and making a studio?

art, Body, feminism, Uncategorized

The last few weeks have been all about unpacking  & settling into my new home in Frome Somerset and now with assistance making a studio in my new home.

Can I believe that? Yes an artist, me.

So now the carpet is removed in the attic room, thank goodness I asked for help, removing transporting a carpet down 2 floors and dragging it out of the pedestrian area to the garage.

Apart from some life drawing I’ve not been doing new work, but did experiment with a pastel sketch yesterday morning, should have thought more about paper but I wanted to work on red again.

Some discovery of artists Eleanor Adair, really evocative for me

and reading discovered Dolan and Tincknell  ‘Ageing femininities Troubling representations’ O yes!

 

 

A new home and a fun. Interlude

art, bathspa university, Garden, somerset, Uncategorized

imageMuch of my time devoted to the unpacking chore and making a new homehard work that is every now and again exciting. A back garden with a blank sheet, but a strawberry bed at the side.

university virtually finished for the year, one optional tutorial tomorrow.

the decision that the top floor is a studio in the making, which is what attracted me to this house and the potential of Frome for artist in the making;this has all happened later on for me.

This drawing of a differnt subject than usual bodies, came about on a lovely day spent with Irene at Timsbury on pastel workshop with Caroline Kibble. Lots of advice re paper which I shall find particularly useful. We all created very different images.

 

 

Henry Moore project conclusions

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Henry Moore project

 

This has been quite a journey within multiple arenas.

(see captions on above images)

I undertook this work when the Henry Moore Foundation were almost

inaccessible apart from the very considerable on-line record of his work. When I

was initially planning this study I found that I was directed to the online record

rather than any dialogue, obviously useful and an extensive and wonderful

record but in my view no substitute for actually interacting with the original as I had at both the British museum and Kew gardens.

What have I learnt? Where has this led me? What areas would I wish to pursue?

 Moore’s inheritance as the son of a Derbyshire /Yorkshire miner and

mining drawings, through visit to British museum and visit to Radstock

museum which documents Somerset coal mining.

 As I viewed the drawings of Henry Moore I viewed a few of the many

sculpture plans for his Reclining Woman series both in the Tate and the

Bronze at Kew Gardens, and how various members of the public

interacted with this work. Clare Woods’ initial suggestion that I consider

the drawings of Henry Moore was a response to my drawings of the body.

 My own first experience of sculpture, engaging with stone.

Comments on Marketing and Promotional Issues

This is complex

Iin the process of the project I became aware via hearsay of at least 2 pieces of his work that were on permanent loan at the direction of Moore himself but had been recalled by  the foundation

1.from a public place i.e. Leicester University

2. a rumor of a recall from a grandson, where the statue had been a gift from Moore.

 

Henry Moore is one of the most recognised British sculptor in the pre and post war period, and his sculptures present in very many public places.  This is complex the Henry Moore Foundation holds very many of his works, loans many for public display is clearly a powerful.

The Henry Moore institute in Leeds from my visit earlier in the year prior to the project is profoundly engaged  with contemporary sculpture in all  forms.   Holding series of exhibitions of established and up and coming practitioners.

The various institutions I came across in my survey rescued various approaches to marketing, Radstock museum is a complete gem of local history close to Bath about very different mining communities that operated in villages between Bath and Bristol for 250 years.

LearningStone and Tout quarry, their reputation is their main promotion for teaching stone carving including some university use, with a dialogue with landscape professionals, geologists, including the British Antarctic project, an internet presence facilitates this. I shall keep in contact with Learning Stone on an ongoing basis

Personal impact

The interaction with Moore objects and drawings and the issues related that emerged for me,  has had me profoundly engaged, and doubtless my work effected greatly. My interaction so far with other contemporary sculpture has been limited as the personal process of engaging with my stone took over. I am in the midst of assessing where I am with my work in this and am going to return to Learningstone for discussion..more anon.

Footnote

I chose this personal study which has involved engagement with web resources, individuals and organisations within local and national history, Radstock museum, Tout quarry, Portland, some of Moore’s drawings, my response to them, a bronze, and of course a stone. Personal resonance is probably greater with Barbara Hepworth but most of her work is less figurative.

The choice of Henry Moore was linked to Figurative work that had been abstracted, and the reference Clare Woods made between my work and his drawings there are many more places to go as I move away from this study.

 

Pondering on drawing and sculpture

art, bathspa university, Geography, henry moore, Learningstone psqt, portland Dorset, sculpture, Uncategorized

5 days chipping,  working into stone the lines of my drawing, not quite 3D more an extension of 2d, complete but incomplete emerging from rock, very glad I used am image I had made of Mel model for Bathspa uni’s life drawing class. Quite a character and  fits with this emerging image well making it authentic.

it has been so inspiring Hannah Sofear working with us, working also alongside Dan who is planning his life change from a business on Liverpool’s container port  to stone carving via City and Guilds course.

On Friday I went into Tout quarry LeArningstone to write up my thoughts, how I could further use my drawings, possibility of projecting my drawings onto stone.

I could not have imagined that I would create something like my sculpted drawing, I have had such a confidence issue sometimes with my drawings. I need to keep on with drawings of the body fundamental to my work. But could particular lines I chipped away more  be deeply fundamental too? Again someone has seen my work as different. This image I used when chipped way had element of the ancient about it.

This also relates back to a talk I heard by Lavinia Byrne about Palmyra in the 1st term, and a image that I created that really did not work at that time.

I have been so engaged with the process that I’ve often not had my notebook with me when Hannah has mentioned connections with contemporary artists but surfice it to say that I have looked at Chris Le Brun and Michael Kenny with his combination of the figurative and abstract. A beginning. I also need to consider Joseph Beys work and have the connection with Victoria Walters in Bath to start to do this.

Hannah Soefar the sculpter who worked with us, introduced  ‘opening up stone to the light for the first time’, a concept especially within Tout  quarry with all its ancientness, where  I kept seeing so many  different images that had been carved into the stone. This work had initially including Gormley and John Roberts stone carver, taken place 20 years ago when a numbers of contemporary sculptors inscribed  images to fit with the ancient stones and boulders. I have the impression of profound interest and engagement with so many issues here; geological, social, ecological and political. Its very interesting to me as my sister has lived in nearby Weymouth for many years  and as many I have only begun to get to know Portland recently, post 2012 Olympics.

I am considering the suggested possibility of a further week or placement need to think about that too, maybe,  is this a one off experience or more?  Need to reflect more.

 

 

Red! 2 new paintings and a sculpture plan

art, bathspa university, Body, feminism, life drawing, Uncategorized

I started out with 2 identical red boards and despite attempts to create a series have come up with 2 very different pieces of work. What I do not understand at all is how differently the crimson red behaved. Disappearing to start with on the body of the  1st painting and appearing more distinct on the clothing of the 2nd. Or that’s what it feels like.For the moment this will remain a series of 2. With the possibility of a 3rd at a later stage. O well that will have to do for the present.

At the same time as I have been finishing studio work, I have been continuing to work through my plans for summer term project. The mention of Henry Moore months ago when Clare Woods ran the large scale painting workshop resulted in me looking into Henry Moore’s drawings. Some like the underground second world war drawings, and his mining drawings seem to be drawings for themselves. Others are clearly related to his sculptures but those figures in all of the drawings, all the figures have similarity. But can I look at him without experiencing sculpture? No I don’t think so now.

So whist I was in Weymouth this weekend went over to Portland.After having Googled Portland and sculpture and found Stone Carving, went and had a chat. they suggested if I was really to get to grip with Moore I needed the experience of engaging with the landscape and light  on a 5 day course rather than just a weekend and give a presentation about my work!

 

 

Portrayals of Age and Beauty

art, Body, feminism, life drawing, oil painting, study, Uncategorized

I went to this talk at the Royal Academy on Friday, so glad as it dealt with so much that is relevant to me and what I am looking about. Focused on a painting of La Vecchia seen   at an exhibition of Renaissance art by Giogione. I find this picture of the painting from the Guardian engaging as a young woman looking and pondering on the image. The discussion by  panel; Lynne Segal professor of gender studies, Borgia author Sarah Dunant,   Aileen Ribeiro prof from the Courtald institute  and  Dr Hannah Zeilig expert on cultural representation of aging. Wow a real discussion on something that is so relevant to what I am trying to do. Sarah Dunant and Aileen put in context discussed how unusual La Vecchia was, in an age of witch trials,  and how sympathetically displayed more a representation with a message  than a person . Shown a variety of images of older women, not a great many to choose from. Today when there are more people over 60 than under 16? Age is  decline, are age and beauty diametrically opposed? The reality that time does destroy the vestiges of beauty. Men in power appear ‘beautiful’ and strong at all ages. Old age itself is feminized. Erotic images of women are never portrayed sympathetically.

This felt the beginning of a discussion, at the encouragement of the person I was sitting next to I got involved in a discussion with Lynne Segal about this, lots of agreement there but encouraging to get involved in a dialogue about my reaction and also talked to Kube a black woman  whose concern about the lack of inclusion of a black women  resonated