Archives for posts with tag: Sarah Woodfine

Enclosure is a word that has connotations of the comfort of an embrace and also the isolation of the prison yard.

In my thinking around ideas of paradise it reflects the dilemma of accepting sanctuary but also confinement.

Expulsion from Eden was surely a release not a punishment, for in reality the delights of an earthly paradise where all is provided and nothing changes would not satisfy our hungry curiosity and need for stimulation.

The exhibition ‘Enclosure’ at Danielle Arnaud covered similar opposing themes.

Gabriela Schutz’s wall sized graphite drawings ‘Holyland’ capture the bleak beauty of a territory divided by religious belief.

Gabriela Schutz - Holyland (Beit Arye)

Gabriela Schutz – Holyland (Beit Arye)

Particularly emotionally charged at the moment with the terrifying escalation of animosity and violence that the people caught between these fragile borders are suffering.

From stark realism to enchanted fantasy. Sarah Woodfine seduces us with glitter and glass in a sealed world.

Sarah Woodfine Castle

Sarah Woodfine Castle

But this is a grey landscape, a place of possibly macabre incarceration.

Also alluringly claustrophobic are Stephen Walter’s dense drawings of woodland. The eye scans the scene for an opening, as if you were within the wood hearing a sudden crack in the undergrowth…

Stephen Walter - Of This Wood Men Shall Know Nothing

Stephen Walter – Of This Wood Men Shall Know Nothing

Walter’s witty idea of using a hagioscope to scan the intensely detailed map of his invented ‘Nova Utopia’ is good fun.

The back history that he has established in his conception of this world is obsessive.

It has some of the same social and cultural grammatics  that Grayson Perry uses in his contemporary commentaries on society.

Stephen Walter - Nova Utopia

Stephen Walter – Nova Utopia

The circular peephole can be manually slid across the map revealing new zones and topographies. It is not a world view but a segmented journey across the land as through an ancient voyagers telescope.

Marion Coutts also edits her landscape to a vignette. With laborious care she removes the borders from the frame of the film leaving behind a floating island.

Marion Coutts - Everglade

Marion Coutts – Everglade

Only subtle movement within the image reveals it to be a film rather than a static projection.

My pieces ‘Would’ (1&2) hung for the Summer exhibition at Ochre Print Studio have a layered translucent surface which adds suggested movement.

1407 SAOS

This work reflects the aura of an imagined event.

2014 Would

A magical space, like an abandoned walled garden.

1407 Henstead Garden

The remnants from an age of explorers who brought back the first examples of exotic flora now thriving in the Suffolk landscape.

1407 Henstead Garden 3

Just a few miles from where I was born is the Henstead Exotic Garden.

Planted 10 years ago by Andrew Brogan it seems impossible that these sun worshippers would survive those icy easterly winds from Siberia that gave us all chilblains.

1407 Henstead Garden 2

I have met a lot of special people at the RCA – the graduates of printmaking 2014 are ALL amazing people

Here is some of their work

Vangeli Moschopoulos

Vangeli Moschopoulos

Sophia Jones

Sophia Jones

Rei Matsushima

Rei Matsushima

Pauline Emond

Pauline Emond

Pauline Emond

Pauline Emond

Jian Zhou

Jian Zhou

James Seow

James Seow

Holly Graham

Holly Graham

Hadas Auerbach

Hadas Auerbach

Gabriele Dini

Gabriele Dini

Danny Augustine

Danny Augustine

Chud Clowes

Chud Clowes

Lisa Lee

Lisa Lee

Christian Jaskolka

Christian Jaskolka

Ben Zawalich

Ben Zawalich

Theo Eriera-Guyer

Theo Eriera-Guyer

Anastasia Mina

Anastasia Mina

Alice Gauthier

Alice Gauthier

Weixin Chong

Weixin Chong

Sad to see them move on but hopefully to amazing new adventures.

It was a privilege to help with all the prep work involved in setting up the show. Now we know what to expect next year…

1407 Show prep

Such a buzz when the whole college comes together

1407 Team work

A strange bubble of expectation is created

1407 Show 2014

To see a short film of SHOW2014 click on this link

One room which stood out for me at Show2014 was a collaboration between two artists Marlene Steyn and Abraham Kritzman

1407 Abraham Kritzman Marlene Steyn 3

Abraham Kritzman and Marlene Steyn

It wasn’t clear who made which pieces but the room worked as a whole

1407 Abraham Kritzman Marlene Steyn 1

Abraham Kritzman and Marlene Steyn

1407 Abraham Kritzman Marlene Steyn 6

Abraham Kritzman and Marlene Steyn

1407 Abraham Kritzman Marlene Steyn 2

Abraham Kritzman and Marlene Steyn

1407 Abraham Kritzman Marlene Steyn 4

so much to engage with

Abraham Kritzman and Marlene Steyn

Abraham Kritzman and Marlene Steyn

and from the RCA jewellery department the talent of Max Danger –

Max Danger

Max Danger

Bees are precious as demonstrated in these beautiful pieces

Max Danger - Bees

Max Danger – Worker Bees

with an eye on the ecological importance of bees as well as a sense of humour

Max Danger  - Robot Bee

Max Danger – Robot Bee

Confinement. I don’t like boundaries that restrict and I don’t want to lose being an artist to being a printmaker.

I don’t really like a show that is put together based on process yet I seem to be more and more being involved with such projects.

I went to see IMPRESS at the Courtauld Gallery Somerset House – the strapline was Print Making expanded in contemporary art.

Some works were as clunky as the premise, and no show transports you when there are wires marking your viewing boundaries and officious invigilators watching your every move.

Nicky Hirst - Wall 1

Nicky Hirst – Wall 1

Filigree in silver onto a printed circuit board – Cornelia Parker and silver work well together

Cornelia Parker - Small Thought

Cornelia Parker – Small Thought

A favourite was the impressions of controlled combustions taken onto photo-sensitive paper of spores from lycopodium plants.

Raphael Hefti - from the Lycopodium Series

Raphael Hefti – from the Lycopodium Series

Definitely an opening here for the imagination.

 

I have been considering the impact and use of different materials in some of the shows I have seen lately.

The weight of Phyllida Barlow’s sculptures

Phyllida Barlow

Phyllida Barlow

Because of their displacive presence and the stillness, they look heavy, immovable;but maybe they are not and if you pushed against them they would swing lightly away.

Phylida Barlow

Phylida Barlow

The frozen painting of Lawrence Carroll.

Lawrence Carroll

Lawrence Carroll

In the Holy See Pavilion at the Venice Biennale tasked with the theme of re-creation after the cleansing of the great flood Carroll (click for interview) chose to use ice as the medium of a new beginning.

Noemi Niederhauser, winner of the ArtLacuna Prize created an installation during her residency at the gallery – Vista Follies explored themes of artifice and a fetishized view of nature.

Noemi Niederhauser

Noemi Niederhauser

Her chosen materials are at odds with the objects they form.

Noemi Niederhauser

Noemi Niederhauser

Out of the mud. Like ice, mud talks of beginnings.

In the exhibition Delve at Leyden Gallery Atsuko Nakamura uses salt crystals as metaphors for natural evolution and time passing.

Atsuko Nakamura

Atsuko Nakamura

The land has all been cut from this atlas encrusted with salt crystals leaving only the oceans

Atsuko Nakamura

Atsuko Nakamura

after the tsunami the sea has grasped attention away from the land where power is usually described.

Glass Cat at Danielle Arnaud Gallery modest and even abject objects are hieroglyphs in whose dark prism social relations lay congealed and in fragments..In this perspective, a thing is never just an object, but a fossil in which a constellation of forces are petrified. Things are never just inert objects, passive items or lifeless shucks, but consist of tensions, forces, hidden powers, all being constantly exchanged.’ Hito Steyerl
William Waterhouse uses glycerine to repeatedly form a bubble – surface tension plus emotional tension.

William Waterhouse

William Waterhouse

Sophie Lascelles uses an unfolded cardboard box as low key screen for her projection ‘In the grasslands’

Sophie Lascelles

Sophie Lascelles

Sarah Woodfine’s sculptures are so smooth and solid. The pencil drawings on paper are immaculately pressed to a curved block of mdf – mdf made sexy

Sarah Woodfine

Sarah Woodfine

Helen Maurer uses light through cut glass and shadows to create mini animations in space

Helen Maurer

Helen Maurer

James Ireland uses materials found at the local diy centre, mock mini waterfalls in lumpy resin on garage shelving

James Ireland

James Ireland

There is a certain beauty through lighting and repetition and exposure, this can be the new sublime. The work is called ‘Epic’

Is a symbol now enough. This idea of the authenticity of the fake is something I will be tussling with in my dissertation. I have had a look at Jean Baudrillard on simulation but am not quite grasping his language yet.  So, first order simulation is an artificial copy of an original. Second order simulation blurs the boundaries between the authentic and the fake so they are hard to tell apart. Third order simulation is hyperreality which is artifice with no original. But wouldn’t that mean that the first of anything man made was an example of hyperreality. What about the first garden centre, the first cathedral. I got on better with Umberto Eco, Travels in Hyperreality.

Barton Hargreave gave an interesting talk at Ochre Print Studio about his work. Combining print with photography and sculpture to create simple silhouettes of figures in frozen movement.

Barton Hargreaves

Barton Hargreaves

The figures have a lightness about them which comes from the photographic origin and staging of his models who are captured climbing, suspended, or mid jump. Much of his work is installed in site specific locations and so he uses locally photographed images randomly collaged to inhabit the silhouettes.

Barton Hargreaves 'Promised Land'

Barton Hargreaves ‘Promised Land’

He also deals with images of the crowd, multiplying the figure. He has a wealth of knowledge about print surfaces and new technologies that are available. Wallwrap sounds an interesting material for outside installations and dibond was not something I was familiar with.

It’s been a crazy busy few weeks at the RCA making new work for the show at Café Gallery Projects so my blogs have got rather behind yet again.

Etching

Etching – work in progress

I have been working on the Paradise Forum piece as an etching. Etching is good for getting a really velvety black for the universe. It has been a real struggle to get the blend right between the photo etch and the aquatint. The problem of a dark or a light circle as one surface changes to another. I have learnt a lot about etching along the way.

Also had Paradise Walk SW3 piece on the go as well. From the photos I took on location I liked the scaffolding at one house – a Jacobs ladder.

Screenprint on Perspex

Screen print on Perspex – work in progress