Week 2 – Elucidate

On Thursday 23rd February 2017, the second organised group of our Art/Work/Life module all of the members collaborated to bring us an amazing show.

The partakers in the show were as follows: Jessie Hoskin, Charlie Harryman, Jazz Moreton, Emily Steer, Emilie Zumkeller, Rachel Hartell, Bethany Harper and Eden Jones.

The curatorial text read as thus:

‘Elucidate’ considers the gallery as an archival space, a disparate mix of themes and mediums coming together to form a world of curiosity. Amalgamating a disparate group of artists, the show suggests a world of curated eclecticism. These artists share the drive to create works based on concept and materiality, with each artist’s concept and material differing. Art should be seen as a powerful tool for communication, and each work communicates its own contrasting idea, which may be as diverse as the subjects of communal living space and the subconscious mind.
Seemingly departing from the norms of the traditional ‘white cube’ exhibition, ‘Elucidate’ is able to exist as an illumination of the creativity of the eight new artists without a sense of enforced convention being followed. The significance of breaking tradition may be understood to go hand-in-hand with the act of being a collective of female artists on the edge of an art world that sometimes seems to lend itself to the notion of powerful and successful artists being fuelled by testosterone.
The works that you, the art-goer, will experience concern themselves with social issues. Feminism, existence, aesthetic, memory, visibility, and consciousness. Exploiting techniques as diverse as drawing, printmaking, and sculptural installation, the Artists convey their individual messages in ways that are intended to be aesthetically pleasing, as well as aiming to lead the audience to consider aspects of their own lives in new ways.
The artists are inspired by practitioners throughout history, with moments in time as disparate as Fluxus and the Arts and Crafts movement informing the work. Although historical context is an important foundation for art-making, it is vital to attempt to consider the contemporary issues conveyed within the exhibition. ‘Elucidate’ provides the works of art but the audience holds the responsibility to draw their own conclusions from what they see in front of them.

There is also a sub-heading underneath the curatorial text, and that reads:

Warning: content that some might find upsetting

This show was undoubtedly a success; the title of the show given in tape and gloss which lighted up if you were to shine a torch light upon it; making it clear which show we were at. Also the curatorial text was on the outside of the door, as opposed to last week’s show, where the text was on the inside wall on the left as you walked in (just before Stephanie Turley’s work). Also this group included a floorplan, showing the viewer (who may not be familiar with a certain person by view) where a certain person’s artwork was in the room.

As listed above there was a sign saying ‘Warning: content that some might find upsetting’ – this was on account of Eden Jones’ work Run, 2017 – a piece of artwork not dissimilar to that of Damien Hirst. Jones aquired three aborted foal anatomies from a friend, who had placed the foals in a preserving material. The content culd be considered quite explicit for some people, therefore the team offered their discretion to warn those entering the exhibition.

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img_06941.jpgJazz Moreton – Hand-made Hammock and Projection on Ceiling

Bethany Harper –Transpicere, 2017  – Gloss Varnish on Acrylic Panels, Linear Ataraxy, 2017 – Matt and Gloss Varnish

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Rachel Hartell –Oyster Cove, Volcanic Splash, 2017 – Woodblock print on Wallpaper lining, Elephant Grey, Shocking Pink, 2017 – Reupholstered and Repainted Chair
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Eden Jones – Steed, 2016 – Oil and Pastel on Canvas, Run, 2017 – Foals in Formalin
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Charlie Harryman – Laugh, 2016-2017  Mixed Media Installation
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Charlie Harryman – Laugh, 2016-2017  Mixed Media Installation (video documenting interviews with the Harryman Family about how they remember their loved ones)
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Emily Steer – Untitled, 2017 – Ink on paper
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Jessie Hoskin – Articles 2, 5, 7 and 16, 2017 – Mixed Media
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Emilie Zumkeller – The Brink, 2016 – Oil paint on Canvas, The Insider, 2017Oil paint on Canvas, Rising Water, 2017 – Oil paint on Canvas, with installation of bed, duvet, pillow and fluffy toy animals

Week 1 – Harmonious Discord

On Thursday 16th February 2017, the first organised group of our Art/Work/Life module all of the members collaborated to bring us an amazing show. Being the first group to organise a show and having the least amount of time possible of all of the groups to organise sed show, they did rather well.

The partakers in the show were as follows: Stephanie Turley, Rita Long, Georgie Fergusson, Jacob Gourley, Elizabeth Deegan, Charlie Harvey, Romy Vizard, Adam Davis and Carla Bailey.

The curatorial text read as thus:

 Harmonious Discord is an immersive exhibition which broadly seeks to explore the human condition, drawing parallels between nature and human experience by examining the often detrimental impact of man on our increasingly fragile surroundings. Echoing Madame de Pompadour’s expression “Apres nous, le deluge” (After us, the deluge), the artists are concerned with the significance of the organic in a world that is dominated by our anthropocentric drive to advance in science and technology. This attitude sits in dynamic tension with the recognition of the clear benefits that technology has provided in relation to the creative process and the development of mankind.
Traditional and contemporary methods of representation are combined in order to simultaneously comment on our advancement as a modern society whilst reflecting on the influence of tradition, thus raising questions of how we engage with the world in today’s saturated yet fragmentary contemporary visual culture. Applying a range of techniques, the works vary, from academic oil painting to multi-faceted photographic manipulation. Two-dimensional works are set alongside woodwork and intricate works of fired clay – all fused together in this truly diverse display. The juxtaposition of contradictory pictorial devices, featuring both large scale and miniscule works, creates a visual tension and ambiguity: a discord of practices within one harmonious desire to explore the relationship between the subject, viewer and the spacial contexts of both.
With reference to various points across a two-thousand year historic timeline, the artists draw inspiration from a range of sources, including: Pre-Raphaelite art, contemporary politics, environmentalism, technology and Pompeiian fresco wall decorations of ancient Roman interiors. This historic-social awareness supports an overriding concern regarding the uncertain future of our planet as a result of an ignorance towards our interaction with the environment.
Harmonious Discord presents work that challenges both societal perceptions of beauty and historical means of representation, whilst encouraging the viewer to think about their own seemingly insignificant position in the cosmos through a union of representational imagery and abstract, ethereal works.

Overall, I believe this show to be a success; the space used was enough, yet there possibly could have been more on certain walls, e.g. on Carla Bailey’s wall, the works (in my view) frankly do not suit the wall they have been placed on. The six A5 paper pieces have been placed off-centre and don’t seem like they’re significant enough to fill the entire middle wall.

One immersive experience for those who visited the show was that there were two interactive art pieces. The first shown by Charie Harvey; displaying blank models of sealife, and this piece invited the viewer to use the watercolour paints to the side of this piece to colour it in. The other interactive piece was made by Adam Davis; his idea of the diseased flag and politics within past and current societies, he wanted to almost play on the fact; therefore painting individual flags across the world on separate blocks of a Jenga set. The viewer would purely play the game of Jenga how it would originally be seen to be played n the past. An interesting idea for this piece may have been for the viewer to come up with a fact about the country/given a fact via a sheet written by Adam about the torture suffered by this country; both in past and also current climates.

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Stephanie Turley
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Charlie Harvey
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Rita Long
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Rita Long
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Adam Davis
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Georgie Fergusson
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Georgie Fergusson

Georgie Fergusson’s work could be seen as soon as the viewer walked through the door; unable to miss, you are confronted with a mimick of a fence, named Untitled (Fence) 2017, which has been made in oil and wood, with a hole to the lower right of the piece. Through the hole, the viewer can see Georgie’s second work  Biosphere No.1 2016, which is an abstract scene of a flower-like variety, made with oil on coir.

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Elizabeth Deegan
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Jacob Gourley
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Jacob Gourley
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Romy Vizard
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Carla Bailey

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