THE WEBPAGE IS LIVE!!!!
Here's a little taster of what is to come at our degree show this year. Check out my classmates' work and some of my own as well as other juicy bits from the course!
Exciting news folks: I'm going to be exhibiting my magnets at the Affordable Art Fair on Hampstead Heath in June : )
Earlier this month, I presented this newly commisisoned interactive installation at Made in Arts London's Capsule exhibition. It is called Is there love in the telematic embrace? after an article of the same name about art in electronic media by Roy Ascott. There Ascott notes the continuous flux of meaning in electronic systems of communication and compared them to quantum systems,
‘In the context of telematic systems and the issue of content and meaning, the parallel shift in art of the status of "observer" to that of "participator" is demonstrated clearly if in accounts of the quantum principle we substitute "data" for "quanta".’,
he continues with
‘How then, could there be a content—sets of meanings—contained within telematic art when every aspect of networking in dataspace is in a state of transformation and of becoming?’.
I love how already in the nineties, Ascott predicted the current information overload and the subsequent loss of meaning.
So this piece explores these ideas in a physical setting by making analogies to aspects of quantum physics and post-structuralism via a participatory installation which takes the form of a tangible, digitized painting or sculpture - a hands-on, 3D photoshop - where people can continuously build and compose new imagery, utiliizing an inherent multiplicity of colour to play with pattern making, by rearranging a multitude of magnetic platonic solids on reflective steel surfaces. These magnetic blocks are half painted with colour schemes derived from 5 digitally deconstructed, appropriated jpegs of Franz Ackermann's hyperreal (dis)utopias, with other inspiration being drawn from Dan Perfect's chaotic, photoshop-stylized cartoon like paintings. At the start of the exhibition I arranged the blocks in 5 individual piles relating to the corresponding background image giving a subtle illustration of the artist's intent. Then as the show progressed this imposed order and my intent was gradually lost and new structures created.
If you are interested to hear more about this and my other work, I caught up with MiAL in my studio a few weeks ago - you can watch the video here.
presented by Made in Arts London
Wednesday 8th April – Sunday 12th April
Embassy Tea Gallery, 195-205 Union Street, London, SE1 0LN
Private View: Wednesday 8th April, 6-9pm
Supporting artists & designers to achieve their creative futures.
Made in Arts London presents ‘Capsule’ an independent exhibition showcasing the ever developing journey of our emerging artists and designers. A curated collection of site specific creations, limited editions, fine art, design, video & performance pieces will be exhibited.
Made in Arts London is a not-for-profit enterprise which supports and promotes art and design from University of the Arts London students and recent graduates. We encourage our artists to continue developing their work whilst offering them the advice, support and opportunities necessary to sustain their creative practice.
‘Capsule’ is an exhibition celebrating the journey of our artists as they work towards their careers as creative practitioners, and the journey of Made in Arts London in supporting them to do so.
Screening Morning: Saturday 11th April, 11-1pm
Talk - ‘The Importance of Supporting Emerging Artists’: Saturday 11th April, 3-5pm
For further information and to register your interest in any of the events above, or to RSVP to the Private View please email: email@example.com
Space Program students from the RCA blur the edges of science and art in a project which started in Oxford University science labs and ends in The Crypt gallery with quantum interactions rendered in new physical, spatial, multisensory and experiential forms.
Exhibition 23-27 Feb 2015 • 12-7pm daily
Private View 24 Feb • 6-9pm
Crypt Gallery • Euston Road • NW1 2BA
We all know viewing art online is nothing like seeing it in the flesh. Luckily living in London I have an almost limitless supply of exciting new shows and events to whet my appetite. But for many people interested art outside the major cities, viewing works online is their first encounter with many pieces. I know I've been shocked both pleasantly and unpleasantly when I've finally seen pieces in their skin - Jackson Pollock's drip paintings spring to mind.
What is this online experience of art like? Often the pictures are of bad quality: colours are not faithfully represented and a sense of scale is practically non-existent.
And there is a wider issue at hand. In 2008, the art critic Robert Hughes made a TV show about the Mona Lisa curse: commercial artwork that is treated “as though it were a film star." As the Mona Lisa was when it was taken to New York, "People came not to look at it, but to say that they’d seen it.” The downside of this is ever increasing prices for on-trend art, effectively blocking out museums and other public galleries from investing in, and showing, these celebrated works. This, therefore, cements the necessity for digital experiences of art even further.
Last week, I exhibited a new piece of work entitled 'The Mona Lisa Experience", which assesses the way we consume art online. A large, projected image appears from the rear of a billowing plastic sheet. Initially it is small number of browny, yellowy and greenish squares (or giant pixels!). As the viewer approaches, the size of the pixels decreases and more enter the frame of the image. Something starts to appear, but to complete the image, the observer must stand right in front the image. The Mona Lisa reveals herself in all her supposed 'glory'......
With Christmas (and my dissertation) now well out of the way, it's good to be back making art exhibiting again. For you people stateside, I have a print in a group show of international artists at Point B work lodge on Nth 7th St in Williamsburg opening next Weds 21st Jan. I spent an amazing month at Point B last summer, during which time I was tinkering with digital art and learning how to do some neat things with the Kinect. The work lodge is closing soon so this is a great chance to look around (it's a fabulous space!) and to meet Mark and other Point B alumni. I wish I could be there too!
Back in London, we have the Big Space show part IV next week at CSM KX. Last year I exhibited The Markers in the same show and I'm really happy with how far my practice has come since then. This time, I'll be presenting an interactive installation that questions how we view art digitally. The Big Space show is opening on Weds 21st Jan and runs through to Friday 23rd Jan.
In the build up to my solo show Computation Cloud (above, November 2014), I was experimenting with virtual versions of the installation. This involved making animated interactive 3D models of the piece, and pixellating appropriated images to provide a colour scheme for the octahedrons. Since I was bringing the digital world to a physical setting, I really wanted to use bright colours to attract viewers towards the piece and also to have a painterly handmade quality to the elements. In the end, my intuition led me to the following image as a basis for the elements in Computation Cloud.
It is based upon a painting by Franz Ackermann - one of my favourite painters - whose work has been described before by Daniel Birnbaum as "as random as those phantom particles whose position or speed may perhaps be known, but never both at once". The image was pixellated using one of my original programs to give a digital aesthetic to the installation. I see this pixellating process as quantising the work - in doing so, I'm deleting information about the state of the original art work, literally lowering its entropy. And I love the result: blurry digital fragments of an already hyper reality lurk in amongst the triangles. The image above was printed in an edition of just three and there is still one available (email me if you are interested!).
My prints available via Made in Arts London are an extension of this work. I wanted to see how Computation Cloud would look when people were interacting with it. So I programmed my app to randomly change some of these triangular pixels to white (as happened in the installation itself). These are a few of the outcomes. Each print is unique as the computer ensures no two are the same.
I also have a few lovely animations of these images deconstructing over time and a time lapse of Computation Cloud itself, which I'll try to post very soon.
Happy Christmas folks x
After the whirlwind that was three shows opening in three days last week, i'm very happy to take a step back and see my work presented in a new context, with other artists and designers from Made in Arts London at the Lethaby Gallery from this Thursday.
This will be my first show with MiAL and I've super excited to meet the other artists and see their work. Hope to see you there for a glass of wine on Thursday evening.x
Private View - Thursday 20th November 6pm - 8pm
RSVP to firstname.lastname@example.org
This exhibition at Central Saint Martin's Lethaby Gallery showcases a diverse range of UAL artists and designers who are are represented by Made in Arts London. All the pieces displayed in this exhibition are available for sale. When you buy from MiAL you are not only investing in and providing invaluable support for the art and design stars of the future, but making an investment for yourself.
MiAL demonstrates the importance of promoting new, unique and exciting work coming from Europe’s largest specialist arts and design university. Made in Arts London is an initiative of SUARTS, the Students' Union of UAL."
The Markers, 2014
it's been a busy few months playing with motors and working with painted polyhedrons and this week i'm happy that my installation Computation Cloud is finished and ready to go.
the private view is on friday and the show will run for a week at the UAL High Holborn site.
if you can't make it down to Holborn for this, i have digital prints from the preparation of computation cloud in a group studio show at Elthorne studios in Archway this Wednesday running until Sunday and also in the post-graduate auction at Central St. Martin's Lethaby Gallery Tues- Thurs this week. i'm lot number #43 and the auction takes place on Thursday evening.
Earlier this year The Journal of Wild Culture asked if I could write a piece about navigating the edge between art and science and after playing with a few ideas here are some new words thinking about a possible bridge between subject and some ruminations about how the link may also help to extend the New Aesthetic. Follow the link to the article here.
One of the art works I talk about is this floor sculpture, below, by Tauba Auerbach.