Our next exhibition opens next week in Glasgow!

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 EXHIBITION // WORKSHOPS // ARTIST TALKS

Any And Or start the year as they mean to continue with a new exhibition in Glasgow!

Five of the artists from the Any And Or Artists Collective will present new artists from the Glasgow area in this collaborative exhibition.

Five & Five : Bar Ten
10 Mitchell Lane,Glasgow, G1 3NU

Any And Or, presenting:

Suzy Bulloch / Michelle Hynes / Susan Laws / Olive Pearson / Jenny Robertson

The exhibition will run from Friday 17th January – Monday 16th February 2014.

OFFICIAL OPENING: Wednesday 22nd January 2014, 8pm.
An evening of live music, drinks and merryment.
Prints from the exhibiting artists AND additional guest artists will be on sale during the evening.

During the course of the exhibition different artists talks will take place. Details to follow.

29TH JANUARY: ARTIST TALK

5TH FEBRUARY: ARTIST TALK

12TH FEBRUARY: ARTIST TALK

OFFICIAL CLOSING: Details to follow.

Any And Or Website: anyandor.wordpress.com

Bar Ten Website: http://navantaverns.com/bar10/recruitment.html

Art @ Bar Ten is co-ordinated by Grey Wolf Graphics

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Any And Or, Curation, Exhibitions, Openings

DEGREE SHOW FAVOURITES: JEWELLERY

Curation, Degree Show, Exhibitions

What I particularly love about the jewellery and metalwork course at DJCAD is the sheer variety of work that springs from it, pushing the boundaries of what jewellery means.  If you’re looking for a particularly dynamic jewellery design course, you’re guaranteed it here.

IMG_7569.1Rachel Alexander

IMG_7562.1I think these were by Kirsten Manzi

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IMG_7564.1Fay McGlashan

IMG_7565.1Lucie Hunter

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IMG_7567.1Jennifer McGurk, I think

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Megan-McGinley-WorkMegan McGinley

Annoyingly my favourite piece from this show is not online, and I didn’t take a photo of it!  I do have postcards though, so I’ll see if I can scan it in.  Her name is Sarah Finnigan.

DJCAD DEGREE SHOW: FA; APCP

Curation, Degree Show, Exhibitions, Inspiration

Here is a selection of my favourite pieces from the DJCAD show.  There are lots!

ImageRebecca Greig
At first glance this piece doesn’t look like much, I guess.  But I really liked it because it is quite in line with my love of the unseen and my pieces on the white walls.  Making something of that which is ordinarily overlooked is right up my street.

ImageDaniel Tyminski

ImageNatasha Dijkhoff

ImageI liked this installation too because it makes an example of accidental and natural, beautiful occurences.  I think this was Liam Dunn’s space…we talked about how this was his work space all year, and how it felt right to incorporate it into his final show.  It really reminded me of SKYSPACE.

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ayla Rose Cowan, whose work you can, of course, see as part of Any. And. Or

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abriele Jogelaite, who won the Bernard Cooper Memorial Prize for printmaking this year (I won it last year 🙂 )

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IMG_7525.1Morag Cullens, whose work reminded me of DJCAD graduate KATIE JOHNSTON’s work

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ImageMatt Wilson, the lithography master.

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ImageBrendan Collins

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J
ayne Topping

ImageVivienne Russell (I think)

ImageEwan Mclure

Image1Lada Wilson

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Tom Colquhoun

IMG_7571.1Duncan Perkins/Rusty Robin

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Rosheen Murray

IMG_7574Sarah Rowntree (sorry sorry sorry for putting the name wrong on this!)

ANY AND OR

Any And Or, Curation, Exhibitions, Openings

Any.And.Or is here!  You may recall me posting about it HERE and HERE.

I will be showing completely new work for this show, which is incredibly exciting for me.  I have kept it under wraps as I feel like it should be shown at the gallery first, but over the next couple of weeks I will be showing it on here too.

If you are down in Edinburgh at all over the next two weeks, do pop in and have a look!

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Have you ever wondered what really makes an image ‘obscene’, or thought about how one might ‘wear’ their gender? What about a mermaid taken out of the sea and popped in a bathtub? What might it be like to peep behind the burlesque stars glamour or to step inside a dream? Is a perfect imperfection as close as we can ever get?

Any.And.Or. is a new artist collective including works of photography, film, painting, prints, performance and installation. Their first group exhibition brings together the works of six female artists studying and working in Scotland.

For each artist what makes up the ‘self’ takes many different forms. The works put together for this exhibition provide a picture of what it is to be; as an artist; as a woman.

Any.And.Or.
Inaugural group show curated by Any.And.Or Artists Collective.
Coburg House Gallery, Leith
PREVIEW: Thursday 11th July 5:30pm – 9pm
CONTINUES: Friday 12th-Wednesday 24th July 10:30-4:30 (11-3:30 Sundays)

Helen Hardman at The West House

Uncategorized

After Amsterdam came my exhibition at The West House (which is still showing, if anyone hasn’t managed to see it yet!).  Here are the photos from install.

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The frames for the two prints above were made by Dundee based framer Ross Mathieson.  If anyone is looking for frames to be made I would absolutely recommend him – both his prices and the quality of his work are unbeatable.

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More to come on this – I have been so busy I haven’t had chance to take official photos!

BALTIC

Uncategorized

I was in Newcastle last week and took a free evening as an opportunity to have a look around the Baltic at their Spring 2013 programme. In all I don’t think this season is their best, and by the third floor I was feeling rather let down. Fabrice Hyber saved the day however, and my advice is thus: skip up to the top floor on a sunny afternoon and i’ll bet you won’t want to leave.

Marcin Maciejowski

1 February 2013 – 2 June 2013

Maciejowski’s paintings apparently use found images as their subjects, and the replication or transferal to the painted canvas questions the point and place of the medium itself in modern day society. Technically they are good; Maciejowski is skilled and I found myself getting up close and personal with more than one piece with intrigue. That aside, my honest reaction – as tends to happen when an exhibition fails to blow me away – was that if this is the standard to gain access to a major UK art gallery then I have hope. Perhaps I just don’t like the ground floor space at the Baltic; the lights are harsh and the room is uninspired. It does not make for conducive art viewing, and certainly not for Maciejowski.

Having said that, I found the concept of the work quite interesting, and was reminded of a programme about art and the Royal family I caught the end of the night before. Prince Charles apparently enlists the assistance of a royal artist on each official trip he embarks on, in an effort to maintain the tradition of painting as a means of documentation. One has to admire this – and though an avid photographer myself we can all admit that photos are all too easy nowadays. Maciejowski tests this idea well, though one must also question whether his paintings would hold such resonance had they been taken from life, rather than photos.

For more information about Maciejowski visit BALTIC.COM

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David Jablonowski – Tools and Orientations

1 February 2013 – 2 June 2013

I liked the work in Jablonowski’s show, and I liked the idea.  But I didn’t particularly understand how the work conveyed the apparent message – the links were somewhat tenuous, in my opinion.  And this was another odd space; a large square of a room through which you have to walk to access BALTIC Library.  A surefire way to get people through the exhibition but to me it felt a little like an add-on space – and a full one too: huge blocks of what seems to be concrete overbear the scene on arrival, with smaller object-sculptures in the centre and on the walls.  It is a scene of trompe l’oeil – the concrete monoliths are inface polystyrene, and the metal sculptures are old offset lithograph plates.  Interesting in their own rights, but the message of the omnipresence of the internet and modern digital conversation did not translate for me.  It all felt a little vague.

For more information about Jablonowski visit BALTIC.COM

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David Maljkovic – Sources in the Air

15 March 2013 – 30 June 2013
There is a hum in the air upon entering Maljkovic’s exhibition.  The lights are dimmed, the room is warm, the click of projectors fills the space.  A wall blocks your path, forcing you to choose left or right around a huge internal structure, broken only by cameras projecting their wares inwards through peepholes.  Upon reaching the end and turning, the space is revealed to open up and dusky installation meets camera.  Stylistically speaking, Maljkovic’s show was very appealing: I enjoy artworks that confront several senses at once, creating an atmosphere as much as a physical piece.  The set up of showreels coming into the space produced a dynamic interaction between viewer and film, leaving it up to us to decide how long to spend gazing in or walking around and into the structure. One gains a sense of the artists perspective as creator in this way.
Film-works are often not my favourite mediums with which to engage, and Maljkovic proved to be no exception in this case.  I sat and watched the Scene for New Heritage piece for a short while but did not find it particularly interesting, instead preferring the smaller pieces around the outside which varied greatly in their content.  A particular favourite was the one by which we are confronted upon first entering the exhibition and has been used extensively in the publication for this show.  A simple reel of light projected in against a huge photography lamp.  I guess it harks back to my minimalist obsession that I would enjoy this piece the most.  Each to their own.
In all I came away from Malkovic’s show feeling a little anticlimaxed – perhaps is simply because I don’t engage particularly well with film.  An intriguing space none the less, and definitely worth a look.
For more information about Maljkovic visit BALTIC.COM

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Fabrice Hyber – Raw Materials

22 March 2013 – 30 June 2013

Everything about Hyber’s show was a delight – visually, sensually, curatorially.  Saved for the top floor, the works are bathed in natural light and visitors are encouraged to interact with their surroundings.  As is explained by the enthusiastic staff, Raw Materials has been designed as a cleansing process for the soul: blasted by the elements, dazzled by swarovski rain, toured through the artists thinking process and plunged into a cold pool at the end.  It is difficult not to have fun, and Hyber comes across as an artist with a sense of humour, probably delighted at the giddy students running through his bed-sheet visual notebook.  I didn’t want to leave.

All over hang Twombly-esque scrawlings on both canvas and the wall itself; an open experience of the thinking behind the weird and the wonderful on show – of which there is something for everyone. Particular favourites of mine included the installation One cubic square metre of YSL lipstick. Apart from recoiling in shock of its worth (£53,000 street value), I was sorely tempted to wedge my face in it, so was its teasingly sticky appeal. Outside the exhibition, Hyber parodies that age-old Hollywood trick of lipstick mirror-scrawling with the equivocal “Je t’aime” surrounded by lightbulbs. Glamorous and fun, it is a beautiful link.

And on with the cleansing! Plain wooden sheds prove to hold more than their seeming worth as you open the doors. One exhibition guide giggled as I opened one and jumped a mile at being confronted by a giant thunderclap and confessed his favourite to be ‘this one’ (pointing at another shed with a corrugated metal door) which turned out to be a hurricane. As with all senses of humour timing is key and Hyber masters it wonderfully with his sheds of elements.

Finally we reach the washing lines – laden with white sheets with the same scrawlings as the walls, pitched over fake green grass. The idea is to take a physical walk through Hybers brain whilst simultaneously being thrown back to childhood tent-building times. I’m not sure what it is about laundry and grass but I am always taken back to hot summer days in the garden, and running through Hybers sheets has a wondrously cathartic effect on the mind. I wanted to laugh out loud and take my shoes off and roll about in the midst of it all. And in my book any exhibition which invokes such joy and will to involve oneself is worth visiting over and over.

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Artist and fellow graduate of DJCAD Sylvia Law posted a link to this article on facebook.  It pretty much summarises some of the ideas from my dissertation On The Subjectivity of Space.

IN SEARCH OF SACRED PLACES

Fallen Tree, Nature Reserve near Ashkirk

Fallen Tree, Nature Reserve near Ashkirk

“Finding relevance, even a kind of sacredness, in public space captivates Marriage. ‘It might not be universality,’ she said in answer to Mehrotra. ‘But it’s still that transformation to something else…'”

Context

WEB

Exhibitions, Inspiration

Apologies for the silence.  Since returning from Brighton I haven’t had much time to settle down with a computer and get down to blogging.  I’ve been a little out of the art loop in Dundee and this is requiring a little catching up.  However!  I would like to show you this:

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I have no idea who this is by, other than they are at DJCAD and possibly on the general foundation course.  I think it is stunning.

Over the next few days prospective first year art students are dropping off their portfolios at DJCAD and I am there to answer any questions about admissions and whatnot.    Naturally the art school wants to put a good foot forward so they have put up an exhibition of students work – it’s well worth a look!

ANY AND OR

Any And Or, Curation, Exhibitions, Graduation

Travelling so much has not left me much time to do anything art related recently, but I thought it would be nice to update you with the plans for ANY AND OR.  We have a date!

11-24 JULY 2013.  COBURG HOUSE GALLERY, LEITH, EDINBURGH.
Ana HINE.  Helen HARDMAN.  Katy MEEHAN.  
Sekai MACHACHE. Layla Rose COWAN.  Tatiana DER PARTOGH.

We are thoroughly immersed in planning, developing and designing this exhibition and are starting to create things like websites/blogs/social media.  The idea is to create a platform for each of us to work from in the future whilst maintaining our places in a collective, so we’re taking it pretty seriously!

Though there is not much to see yet, here is the new BLOG.  This will be up to speed as soon as possible with our graphics in place.  Add it to your favourites, for soon it will be!

Hello again after a busy week!  Since I last posted I have been to North-east Wales, Dundee, Ayr, Penicuik, Ampleforth and back up to Dundee.  Tomorrow I set off at 8:30am for the south coast for another five days of UCAS fairs and train-hopping.  Hopefully it will be less tiring (it’s more of a big circle than zig-zagging across the UK).

Last night Chris showed me something cool that he had found (not sure how/why) on SNAP! magazine’s website…

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This is the Japanese art of Kintsukuroi, meaning “to repair with gold or silver and is generally associated with the reparation of broken pottery.  Gold or silver lacquer is used to join the broken pieces together and the resulting item looks more beautiful than the original; more beautiful for having been broken.

It’s a poetic metaphor for life …”

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Photo Source

There is something incredibly poignant about gluing something fragile back together with precious metal and Chris was right to think that this was something that I would like: much of the work that I made in the third year of my degree focused on celebrating such natural progression, renewal and embellishment.

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Though not as ornamental, the blind embossed prints I was creating aimed to celebrate the miniscule imperfections in our everyday surroundings.  The need to do this first made itself apparent to me within the first week of moving into studio 519 in third year.  Perhaps non-art students won’t have the same visual understanding of this process, so here it is: between the end of the previous years degree show and the start of the new semester the studios are split up using black wooden boards to allow more students to work in the space.  Desks are placed against the walls, and that is it.

And that is how we begin every year.  It takes a while to adjust to your new surroundings.  In the meantime I found it so interesting to watch how people around me reacted differently to their spaces.  Those who were in the studio regularly seemed to surround themselves with stuff, plastering drawings, posters, photocopies, postcards – anything, it seemed – up their walls.  I always considered it an evasion tactic, as if the unspoken pressure that an expansive blank canvas inevitably conveys was too daunting.  (In hindsight, it was perhaps just a means of personalising the environment.  Either way there was some great work created in that studio).

But I, on the other hand, spent my time staring at the walls, enjoying the terrifyingly clean, minimalist, white expanse.  And in staring I started to see patterns and shapes: blobs of plaster that hadn’t been sanded down properly; pencil marks; brushstrokes; painted gumstrip.  Perhaps the most odd was the charcoal fingerprints on the ceiling (but the attempt to capture and produce from those failed miserably [the only time I’ve ever attempted to work with solar plates myself]). I decided to make something of these imperfections that everyone else was seemingly ignoring, and the result was a series of deeply etched steel plates which when put through the press with no ink created perfectly embossed replicas of the marks on the walls.

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One of the artists I was looking at during the period that these prints were made is Susan Collis, whose use of seemingly mundane, everyday objects is very much an alternative use of kintsukuroi.  To the untrained eye, her exhibition spaces – such as that at Ingleby Gallery in 2008 – are unremarkable.

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But upon closer inspection the flecks of paint on an old, well used broom are in fact precious metals and stones.  Screw heads sticking out of the wall are solid gold.  “The age-old trick of trompe l’oeil is not usually employed for such humble things, and the witty poetry in Collis’ work lies in the intense labour expended over many months to craft these precious and beautiful, but ultimately useless objects.”

Love Is A Charm Of Powerful Trouble

There is a whole host of deeper philosophical meanings to all this.  But perhaps the simpler one is the better; that in all cases – and certainly the ones I have noted here – it is a joy to celebrate the little things in life, that we generally drift over and do not stop to take the time to consider.

Links: SNAP!  Susan Collis SEVENTEEN.  Susan Collis Ingleby.  Leaf and Twig.

I am spending the next week on the south coast (Cornwall, Exeter, Portsmouth), the weekend between Sunderland and Dundee, and then I’m off to Manchester on Monday.  Please bear with me on the blog front!

Context, Inspiration, Other, Studio