Jane Ward at BEARSPACE
Had the opportunity to meet Jane Ward whose work I have always admired at BEARSPACE. She was giving an informal talk about her working methods, how she chooses the images she then manipulates, her sources and inspirations.
She often uses aerial shots as a base from which she builds her imaginary worlds and the end result does have the feel of looking down, spiralling towards the ground as all perspectives are lost in a disorienting chaos. She says it is important that within this chaos there is space to escape and so always leaves an area of light in her work for this purpose.
Noa and Hannah had filled the walls of their beautiful Dulwich house with a wonderful selection of their paintings and prints. Each artist complementing the other as they both have a mystical quality to their work.
Noa Edwards
There is lots of space in their work for the viewer to become involved, Noa’s dark photograms have a ghost like ethereal haze making the images indistinct and alluring and Hannah’s colourful assemblages are joyous and expressive.
Hannah Williamson
Marking Time with Debbie Lyddon at the Crypt Gallery.
Debbie Lyddon
Through the use of materials Debbie investigates the possibility of expressing time passing through process and experience.
Debbie Lyddon Bitumen Buckets
Letting the material do its own thing. These bitumen coated canvas buckets filled with salt water had been left to evaporate for 6 months but were having the process of crystallisation reversed in the damp environment of the Crypt.
Time is not linear.
Lizzie Cannon is also interested in materiality and has used her residency at Bow Arts to explore using porcelain in her practise.
Lizzie Cannon
Her delicate sculptures look like they might have been formed over thousands of years from dripping limestone, they have the strange forms and translucent quality of stalactites .
Lizzie Cannon
Creating work that blurs the boundaries between the organic and the inanimate she fuses materials and forms together confounding us with a mix of the unexpected yet vaguely familiar.
At the theatre it has been a mix of the political, politically correct and not. I enjoyed Stuart Lee’s understated observations on the possibility of him voting conservative at the Loving Linda fundraiser for ovarian cancer. An evening of comedy in the wonderful Linda Smiths memory.
Linda Smith
‘This House’ by James Graham playing at the National tells the tragic tale of the last days of the labour government pre Thatcher, the like of which will never be seen again – it didn’t seem appropriate somehow to well up at a political satire but it was heart-breaking stuff. All the more tragic in retrospect knowing now what was to come.
This House
I had expected to well up at ‘Joe Egg’ but in fact it never really cut beneath the surface, written at a time when the language of disability had not been reformed it was slightly uncomfortable to listen to but as it was so dated it was hard to empathise and finally feel any real emotion. Top marks for the acting though.
Sally Tatum in Joe Egg
The V&A had gone to town with their Bowie extravaganza – great use of location sensitive headphones adding the appropriate soundtrack.
He has wowed us all again this year with his new tracks and another collaboration with Tony Ousler to produce an enigmatic video.
Bowie and Ousler collaboration
I was interested to hear about Bowie’s lyric generator which spliced random articles together – a lot of it made no sense but there would be the odd phrase that would capture his imagination and from there he would begin to write. It seems a fun way to work, loving rules and lists it really appeals to me. I could make work from a random starting point each time or follow a method like with my food shopping where I buy the next thing on the shelf to what I bought last week. This removes all tedious decisions about what to cook and throws up lots of interesting combinations for meals forcing us to eat things we might never have tried. However, instead of randomly generating ideas I am trying to keep focused on what I believe to be the nub of my interests – the cultural impact of our disconnection with nature. Thinking about the evolution of the first trees and what they looked like I cut some ferns in the garden just as they were about to unfurl – I have scanned them and was really pleased with the detail. I am pressing them and hope to use them to make monoprints over the iceberg collagraph.
Have made a good investment in a plan chest – now that I am working on paper a fair bit.
So lovely to have tidy studio and somewhere to lay stuff out.
At Ochre I have been adding some more layers to the iceberg collagraphs.
I am concerned that I have got a bit too seduced by the wonderful colours of the inks.
I am not really satisfied with the image – need to think about this a bit more.
I am planning on adding a layer of printed organza over the trees to give more depth.
I think I need to go back to a grayscale palette.
I have been working on a new stencil image for the forest, something which hopefully disrupts the landscape more – and have been thinking about adding some beasts of the forest too.
Not worrying too much about historical accuracy but about the feeling of the forest being something menacing advancing across continents.
A more imaginary world.
Susan Eyre 