Sleep Furiously

Sleep Furiously, a film by Gideon Koppel. A beautiful, poetic meditation on the rituals of a small rural community in Trefeurig, mid Wales. Koppel clearly has a personal and close relationship with this community as the intimacy in this film is one of its strengths. Koppel manages to draw us into view this small community by allowing us to just observe, to see, some of the intimate passings of everyday life and the passing of time.

Koppel has carefully chosen and beautifully shot the moments he wishes to share with the viewer. The hands of a woman baking, a boy plaiting, a line of sheep in the distance traversing a landscape, a calf being born, piglets and sheep being shorn all tied together by the mobile library van.Sleep Furiously

The film leaves you with some beautiful Morandi-esque still images with a haunting sound track from Aphex Twin. An understated masterpiece and an elegy to a disappearing world.

Future Useless/ Future Perfect

The creative act or inspiration for art work usually arises from a series of ideas; when thoughts or images merge into another to produce a new image or art work. Recently I have been working through a number of methods to produce a new body of work. I have used found art works and images and have reproduced or reformed these images to suggest a different narrative to that of their past form. I have also revisited the act of painting  and colour theory and at times have combined this with the found work or solely used the method of painting to suggest a further dimension beyond the flat surface and a presence beyond the now.

To an extent this collage and presentation of ideas can be described as what Deleuze refers to as the fold; the folding inside of the outside. A simple interior and exterior mutually existing yet at the same time increasingly complex as what is present goes beyond the visible and includes the folding of time and memory.

For me there is no boundary between the works and how they becomes visually present through the making process; by presenting these ideas together I aim to suggest a continuous ‘texturology’ between the works. This idea is summarised in my ‘Fold Series’ paintings which suggest a visual presence of the fold in an abstracted form in which a ‘finite number of components produce an infinite number of combinations’. The system of geometric forms finds is own space and the use of colour and light suggests an exterior beyond the surface. The repetition of shape is not uniform and so offers and opportunity for the series to continue indefintely or break down or deviate to create a new set of visual ideas.

For a the planned exhibition with fellow artists Sophie Barr, Alice Rolfe and Griffits&Blackburn I am eager to bring new systems together in a space to stimulate further ideas and explore further the idea of a continuous ‘texturology’ as we work in collaboration to bring our ideas and visual references together under the working title of ’Future Useless/ Future Perfect’.

Silvertown – Melanie McGrath

I had the pleasure of recently reading ‘Silvertown’ by Melanie McGrath. It is a book that gets under your skin and lingers in your consciousness. It is the story of a Jenny, based on the writers grandmother, who was born in the early 20th Century and grew up and lived in the East End of London.

“Mum, where’s the End in East End?..The Docks…the Docks is the End…But Mum, where’s the Beginning then?….But it’s harder to say where the Beginning is. Aint no east Beginning s’far as I know. There’s only an East End” (McGrath, pp11-12)

jenny lived through two world wars, experienced the flourish of the docks and witnessed their decline. It opens up an personal history of East London that is fascinating, brutal, absorbing and poignant. A history of many women’s struggle to survive on so little. It is a story that reminds us to be grateful for the prosperity we live in, a Christmas dinner consisting solely of boiled cabbage is far from our doorsteps, yet was a reality for many in this country only 70 years ago. Thankfully no woman has to now face the butchering of a back street ‘dentist’ pulling all her teeth out at the age of 17 to ensure that she is less of a financial burden to her future husband – no future dental bills.

Jenny is of my grandmother’s generation, a generation that witnessed fathers and uncles disappearing in the first world war, had the threat of illnesses like TB and pleurisy knocking at the doors, had their children evacuated and saw their cities flattened in the second world war. A generation of women that had their teeth removed. They were the survivors that paved the way for our comfort. How far removed are two generations.

East London intrigues as well as frustrates me. It holds a rich and multi layered history, one that has often fascinated me and caught my imagination. I remember many years back spending many hours researching the Chinese population of Limehouse at the end of the 19th Century.

The constantly changing populations in fluxing and exiting are as frequent as the tides. Much of the history has been buried under wars and redevelopment, the 1960’s post war estates, the 1980’s Docklands development around Canary Wharf, the stylish conversion of warehouses along the river fronts of Wapping and Limehouse, the A11 & A13, and more recently the Olympic development between Stratford, Hackney and Leyton. But when you look there are traces of earlier times in the remaining old buildings, pub and street names echoing the memories from previous inhabitants.

I read ‘Silvertown’ soon after reading ‘Any Human Heart’ by William Boyd. Another book I loved every page of. A history of a man born at the beginning of the 20th Century into very different circumstances to Jenny. Logan Mountstuart has the privilege of education and travel behind his story. He, like Jenny, lived through the two world wars and the excruciating heartache of experiencing a home and city demolished. Something I hope I will never experience. This book is one that I know I will re-read many times, it is so rich that I am unable to know where to start to write about it. What has captured my attention and imagination is how both these novels have opened up a century rich of history on a deeply personal level. It is a history that was experienced by people and the contrasts of these experiences is widely different; one is a history of a woman with limited choices and opportunities and another is of a man with substantially more freedoms; and yet the echos of their stories are eerily similar in the way they witness the unfolding of the twentieth Century.

Quotes: Richard Wentworth – Leaning

In an interview with John Reardon Richard Wentworth is talking about some stacks of tiles he saw leaning against poles when driving in France. “The mutual leaning had a wonderful sense of intention, a wonderful repetition.” When he returned to photograph these stacks he was disappointed and frustrated that tiles had fallen over. They weren’t the same “…they had lost that decisiveness.” “They’d lost their visual weight, which was partially the power of the leaning, with the pole coming out of the top. I love leaning, a sort of purposeful repose.”

(Richard Wentworth in Mollin, David & Reardon, John ed. (2009) ‘Ch-ch-ch-changes: artists talk about teaching.’ Ridinghouse (p361)

Michelangelo Antonioni’s ‘Red Desert’ (1964)

This is now firmly in the top ten. What a joy of a movie visually. I find Antonioni’s use of colour extraordinary. Yes I can see the comparisons with Morandi, especially in the title series and with Tapies. The fact that Antonioni has also painted the landscape to enhance the colour in certain scenes is incredible. I understand that some of the trees and landscape were painted black to enhance the contrast with Giuliana’s (Monica Vitti) green coat.

The rust and the reds against the grey industrial landscape stand out with such boldness and strength, it is like someone has dragged a paintbrush across the screen. The pipes and steam of the factories merge in with the fog, surfaces, polluted riverways and ships that churn past add to the tension of the narrative if not the mental confusion of Giulana.

I want to watch it again. I want to paint it. He is an artist that has closely observed the industrialisation the ‘bigger machine’ of late 20thC Italy. He has found a rich and vivid beauty in a desolated brutal landscape.

The yellow smoke lingers on at the end.

Barbed Wire

In the book Barbed Wire: An Ecology of Modernity (Wesleyan University  Press 2004) Reviel Netz has written a history of barbed wire from its agricultural beginnings in the late 19th Century America to its military and political uses in the late 20th Century. I havent had the chance as yet to read this book but have enjoyed the interview with Netz in Cabinet Magazine issue 22.

I have been noticing barbed wire, it is used on some of the fences that have been erected around the olympic site. Fences that cut across through routes. Obstructions. The structures of ownership  control and fear.  How space is divided, secured, occupied and owned is something that I keep coming back to and it is probably a response to being a city where space is scarce.

The Armchair Destructivists

The Armchair Destructivists Action 3. option 9

I stumbled across this film and it warmed my heart to know that it has been made. I felt I should have made this film in response to many hours dealing with Utility Co’s in my day job, I haven’t, but i’m glad you did.

FLESH: THE GREAT ILLUSION An exhibition celebrating the life and work of Ronald Wright

This week I had the pleasure of attending the PV of the above show at The Schwartz Gallery in East London. The show has been organised by Georgina Starr and Paul Noble and what a fascinating visual biography they have sifted through and curated.

It was an interesting journey through a man’s life and a great reminder that life is fluid and anything is possible. Ronald Wright has journeyed from being an artist drawing film stars, to creating some great drawings of the idealised 1950’s man for a number of underground gay magazines, to becoming a male model himself and to more recently stepping into the world of spiritual healing.

There was so much to engage with in the show. I really enjoyed the drawings of the male encounters for the magazines. What once seems risqué then holds a certain charm when looking back from our more sexually liberated times. Wright’s reminiscences alongside the images of his drawings in the film are encapsulating.

As you move round the gallery you then come to the tables of letters from pet owners contacting Wright for healing for their beloved animal, some more detailed than others and some replying to advise that the healing has been successful. The contrast of the images of Wright wearing the cloth and cross of a spiritual healer seems a big leap from his younger days of modelling.

To finish the show off Georgina has re-built the living room of Ronald Wright in the gallery. I understand that the objects in the room have all been transported from his home in Hertfordshire for the duration of the show. It is an inviting space where I would happily sit and have a drink with Ronald to hear his stories.

Thank you for bringing this man to  new audience and celebrating his unusual and varied life. It is almost as if Ronald Wright’s life is an ever unfolding work of art in itself.

Jannis Kounellis at Ambika P3

Ambika P3 is a huge hidden industrial space in the bowls of the University of Westminster. The space warrants the monumental work of Jannis Kounellis’s ‘K’.  As one enters the space you have the pleasure of looking down onto the work and can see its shape and form in all clarity. Then as you descend the steps the monumental stature of the work begins to tower over and dominate you.

The darkness of the steel blocks, with the black coats hooked and stretched over the rows of bottles attached, seems to absorbs the energy and weigh down the space. The work carries a heaviness in its materiality weighted further by the coal piles on the top of each steel block. The work is monumental in scale and effect, as if carrying a weight of history and a reminder that death is ever present.

The other work in the show also refers to death and a bodily presence that has passed. The rows of black coats hanging off coat hooks, a few rows of bottles on the wall bound together and wrapped in cloth and a black bundle of cloth resting in a corner. I prefered the simplicity of the smaller works. For me they seemed lighter, more accessible and interesting.

On the whole a great show. Kounellis is a master at not giving us all the answers and that I think is the secret to his lasting appeal. This body of work I am sure will stay with me for sometime.

Review

Nairy Baghramian & Phyllida Barlow at the Serpentine

It was a beautiful day to be wondering through Kensington Gardens in the late afternoon. May is a wonderful month with everything blooming. I am loving the horse chestnut trees this spring, full of flowers. And to add to all this vibrancy Phyllida Barlow is showing at the Serpentine Gallery alongside Nairy Baghramian.

What a great show, the way the two styles of sculptors were separated encouraged viewers to compare and contrast the different styles. For me Barlow steals the show. Always been a fan but the work in this show managed to tickle those nerve endings even more.

I’d describe Barlow’s work as gutsy, organic, sexy, abject and weighty full of colour and passion. Like all encompassing paintings that dominate the space and work on an emotional and physical level. I instantly fell in love with the cardboard cement boxes on the wall. The ‘Untitled: Double Act’ of two large balls of  matter, that seemed like two enormous pubescent heads rolling about with their baseball caps on, brought such joy to my being. The physical body ever present amid the architectural structures that seem akin to debris of building sites.

By placing Barlow’s work adjacent to Baghramian’s the contrast of styles was heightened. Baghramian’s sculptures seem lighter, colder less emotional and more intellectual. Responding to the space in a  careful reflective thoughtfulness. The work is calmer, but for me less exciting. I felt it was too contained and distanced from the viewer. This feeling of distance was heightened by the staff not allowing us to cross the black line to view the work up close. I found it hard to engage with Baghramian’s work on this occassion. for me the passion of Barlow’s work dominated. I think Barlow could have happily and effectively had a solo show. Maybe it is a shame that such a significant contemporary female British artist was not given that opportunity.

For a few of the highlights do check out this link for images:

And a good review at the Independent

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