Tuesday, 13 December 2011
The Old Dock, Liverpool
Above are some photographs I have taken today of The Old Dock. I was shocked at the impressive mountains of waste there, it reminded me of a documentry film "Manufactured Landscapes" by Edward Burtynsky. Through my work I want to deal with issues concerning the marks we are making on the environment.
Monday, 12 December 2011
Jean Tinguely
Jean Tinguely
Suzuki (Hiroshima), 1963
iron, children's bicycle wheel, rubber, iron goblet, concrete, electric motor
140 x 70 x 50cm
Jean Tinguely - Baluba III, 1961
motor driven mixed media 4'8 3/4"
Suzuki (Hiroshima), 1963
iron, children's bicycle wheel, rubber, iron goblet, concrete, electric motor
140 x 70 x 50cm
Jean Tinguely - Baluba III, 1961
motor driven mixed media 4'8 3/4"
Wednesday, 7 December 2011
ADA Enterprise Event, Thursday 24th November
On Thursday the 24th of November I attended a session on freelancing and self employment in the creative industry, an enterprise event available for students in the LSAD which took place at 10am in the morning in The John Foster Auditorium in the LSAD. We received a welcome from the Centre for Entrepreneurship, who are located on Mount Pleasant and then passed over to Nathan Jones, creative director from Mercy (design agency and literature and arts collective) Liverpool, who provided a thought provoking and inspiring key note speech which helped ignite entreprenurial sparks. We got the opportunity to meet the LJMU 'Fellows' past and present, who received funding to set up their own businesses. They spoke in depth about their various practices in fine art, architecture and design and answered questions concerning difficuilties they faced along the way. I have always thought about starting my own business when I finish university so this conversation was really ideal for me to gain an insight how to go about it from the initial plans. The students were then split up into 'green rooms', the majority being fashion and design students and I happened to be the only fine art student, so that left me with 4 professional local entrepreneurs from the creative industries to talk about my ideas to. At first I thought to myself that this was going to be like an interview, really intimidating and awkward but it actually turned out to be a brilliant opportunity that benefitted me greatly. The professionals there to speak with me included Sally Medlyn, director and creative consultant at Independant Cultural Consultants and Jump Ship Rat, Liverpool, David Cornett, director of Snow Architects ltd, Liverpool, Jenny Roberts, managing director at Sprocket Design Consultancy, Lancaster and Andrew Small, artist and sculptor, Liverpool. We sat in a circle in the auditorium and had a discussion for about 30-40 minutes about how I can take advantage of the close networks in Liverpool and gave me great websites, galleries, organizations to look up and to go see. They really gave me an insight to what it takes to be a success in the creative industry and how I should be beginning now to develop contacts and networks which I feel I accomplished that day. When the discussion came to an end they each gave me their business cards. I am very glad I attended this event, it was extremely motivational and insightful to lots of opportunities within Liverpool for an art student like myself that I would have been otherwise unaware of!
Jump Ship Rat
ability to move in any direction
with speed and agility
and fit through the narrowest of entrance/exit points
or to make them appear
ability to recognize when the ship you're on is in trouble
to survive
to be held in wildly different regard
to be vilified
to be used to understand the human condition
to be able to startle human senses
to be open to misinterpretation
to be clearly recognized and understood
to have power and strength in numbers
to make a distinctive noise
to be heard
to be part of the night
daytime appearances to be committed to memory
public consciousness to be affected
to become immune to poison
to survive many efforts to be eradicated
to be mythologized
and exaggerated
made folklore
warning to society
pied piper is Santa Claus
occupation of disused spaces
unswerving pursuit of life
celebrating what others disregard
living in slums and palaces
the underground home
great fucking tunes
social shifts
cultural exchange
time changes
mean time
jump ship rat
JUMP SHIP RAT
JUMP SHIP RAT
JUMP SHIP RAT
with speed and agility
and fit through the narrowest of entrance/exit points
or to make them appear
ability to recognize when the ship you're on is in trouble
to survive
to be held in wildly different regard
to be vilified
to be used to understand the human condition
to be able to startle human senses
to be open to misinterpretation
to be clearly recognized and understood
to have power and strength in numbers
to make a distinctive noise
to be heard
to be part of the night
daytime appearances to be committed to memory
public consciousness to be affected
to become immune to poison
to survive many efforts to be eradicated
to be mythologized
and exaggerated
made folklore
warning to society
pied piper is Santa Claus
occupation of disused spaces
unswerving pursuit of life
celebrating what others disregard
living in slums and palaces
the underground home
great fucking tunes
social shifts
cultural exchange
time changes
mean time
jump ship rat
JUMP SHIP RAT
JUMP SHIP RAT
JUMP SHIP RAT
Lady Lever Gallery
A few weeks ago I decided to take a trip to the Lady Lever Gallery in Port Sunlight. Following a discussion with my personal tutor in Fine Art practice I realised that I wanted to begin painting again and he advised me to visit the Lady Lever Gallery as a source of inspiraton. I got the train on the Chester line and arrived at this quirky villiage of Port Sunlight which I was surprised to find just a few miles outside of Liverpool. Sometimes it's very easy to forget that other places of interest exist outside the city when you live in such a city as Liverpool. It was like going back in time, walking around this wide open space in which William Lever employed 30 architects to create a garden villiage with a sense of space and beauty, and this he did. Walking around the small villiage you can't help but feel a sense of tranquility.
I entered the gallery space and was familiar with a few of the paintings that surrounded me such as John Constable 'Cottage at East Bergholt', JMW Turner 'The Falls of Clyde', Dante Gabriel Rosetti 'The Blessed Damozel', also there were a few names that I did not recognize, such as 'The Garden of Hesperides' by Frederic Leighton (1830-1896). This painting depicts the 3 daughters of Hesperides or the God of the evening. What I love about this painting is the balance, achieved by the composition. I love the circle shape of the painting, the dream like/heavenly state that the girls are in. I like the way all the objects are touching and nothing is seperate so you look at the painting as one whole vision. The paintings of this time seem to be highly influenced by religious and mythical ideas and concerns which are not so much predominately concerns in contemporary art today.
The Scapegoat (1854-6) Willam Holman Hunt oil on canvas 87cm x 139.8cm
This is a painting by William Hunt 1827-1910 influenced by an Old Testament ritual whereby priests loaded onto the scapegoat the sins of the people, who drove it to the desert to its death so that their sins would be cast out. William Hunt painted this mostly infront of the dying goat on the desolate shore of the Dead Sea in Palestine. When looking at this image in the flesh it really does convey the isolaton and despair of the situaton and Hunt really has accomplshed ths through not only the Scapegoat but the landscape behind. There is something so hopless and pityfull about this image and it is not something I would typically be drawn to. I think we can learn something from Hunt's approach to painting. The fact that he sat infront of the dying goat and experienced something so real that was then interpreted in his painting makes me consider my own practice and the ways in whch in confront my ideas.
Tuesday, 22 November 2011
Monday, 21 November 2011
To be shaken out of the ruts of ordinary perception, to be shown for a few timeless hours the outer and inner world, not as they appear to an animal obsessed with survival or to a human being obsessed with words and notions, but as they are apprehended, directly and unconditionally, by Mind at Large this is an experience of inestimable value to everyone and especially to the intellectual.
Aldous Huxley
The Doors of Perception (1954)
Aldous Huxley
The Doors of Perception (1954)
Cells
I am interested in using the metaphor of the city as a cell or the city as the human body, made up of vital organs, the heart, arteries, veins that keep the blood flow and keep it alive. I like to make connections how out of control things can get living in a city, in terms of over population, traffic jams, crowds, pollution, environmental issues, waste in the same way a cancer cell gets out of control and multiplies. I am concerned with the impact we are making on the environment and want to investigate this through my art practice and using various processes and materials such as these cell images, the human figure, taking inspiration from artists such as Wangechi Mutu and Ben Perry. I am also interested in using found and waste materials.
Friday Pop up Session
These are some photographs that John Webster had taken of me with my work during a presentation I gave on the Friday Pop up Exhibition session.The Friday sessions are about getting us as students and artists to consider what context to show our work within, considering various factors that may influence this choice. The 3images I have displayed on easels above are the footprints and marks made on white pieces of paper that I layed down at various locations in the LSAD building, considering health and safety measures. This idea came about on the day as I considered the marks we make on a daily basis in the city of Liverpool, and through the consideration of maps and map making.
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