Here are some officialish photos of the exhibition!
Layla Rose Cowan
Tatiana Der Parthogh
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.
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.
Mhairi’s was probably my favourite exhibition of the entire degree show, especially her thread and glue pieces. Stunningly intricate, simultaneously light and heavy, they defy perception and leave you wondering how endless Mhairi’s patience must be.
Sahar’s suspended thread piece was beautifully tense. I almost want to give it more space to breathe, to walk around it and see it from every single angle.
Jonny’s work is achingly witty, somewhat dangerous, stunningly photographed and quite frankly mad. His are the kind of set ups that I wish I had thought up or even witnessed.
I find it quite hard to realise that all of Fiona’s pieces are, in fact, screenprints. I’ve worked around Fiona whilst I’ve been night teching this year and witnessed her jubilation and frustration in the creation of her circular pieces. But I never had the chance to see a finished one until the show. If anyone has the nerve to say that screenprinting is easy or a less skilled printmaking technique, I dare them to say it to Fiona. I think they are beautiful.
Here is a selection of my favourite pieces from the DJCAD show. There are lots!
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.
I 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.
Gabriele Jogelaite, who won the Bernard Cooper Memorial Prize for printmaking this year (I won it last year 🙂 )
Morag Cullens, whose work reminded me of DJCAD graduate KATIE JOHNSTON’s work
In April my computer hard drive failed and between work trips and holidays it took a little while to get it fixed. And then when it was fixed I was suddenly off again to England with work! So all in all I am massively behind with everything.
The next couple of posts will be my favourite bits from the DJCAD Degree Show 2013.
(Artist references to follow)
Probably the creepiest thing in the show.
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.
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.
More to come on this – I have been so busy I haven’t had chance to take official photos!
Those of you whom have looked at my PROJECTS page recently may have noticed something exciting…
Indeed I am very excited to announce that I will be having a solo exhibition! The West House, Dundee will play host to my prints as of next week. This is also the first exhibition as part of Any. And. Or.
Kicking off Degree Show season in style the PREVIEW will be on Thursday 16th May 2013, at approx 7pm (TBC).
Continues Friday 17th May 2013 Mon-Fri 8am-midnight, Sat-Sun 9am-midnight.
All are welcome to attend!
This exhibition culminates a year of planning (on my part): On a degree show high I first suggested a show of my prints at TWH last summer, recently after they opened. Since they were still too new at the time and the paint was barely dry on the walls we didn’t proceed with anything until I was introduced to Andy Rice whilst working with Paul at the VRC. After hearing my tale he agreed that exhibitions of new and local artists’ work was the plan all along, and several months later here we are!
Since The West House will be looking for new work to hang after my show closes, this would be an excellent opportunity for any soon to be graduates, local Dundee artists and budding curators.
Hope to see you there!
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.
“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…'”
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:
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!
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…
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 …”
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.
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.
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.
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.”
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.
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!