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

Any And Or, Curation, Exhibitions, Openings

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

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

Roll up, roll up!  Today is the day to come to DJCAD and see a myriad of wonderful prints!

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Printed Mater:::::/Print Process opens for preview tonight: 5pm, Bradshaw Space, DJCAD.

On display for your visual delight will be these bad boys:

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But as I did mention they look far better in real life.

And among others: Russell Frost Letterpress, Alexander Stevenson Linocut, Morgan Cahn Silkscreens…

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If you are unsure of where to go…enter DJCAD through the big new entrance on Perth Road.  Go upstairs to level 4/library.  Come out of the lift and turn left, or come to the top of the stairs and turn right, go through the double doors, across the bridge and turn right.  Go downstairs until you get to the old entrance and the Bradshaw Space will be through the double doors directly opposite the stairs.  Or the Cooper Gallery Project Space doors might be open at the front of the Crawford Building.  Who knows!

See you there!  In the meantime check out the FACEBOOK event and the Print and Process BLOG

Curation, Exhibitions, Openings

This has been a most exciting week in many ways!  Not only do we see Printed Matter:::::/Print Process previewing on Thursday (21st February, 5pm, Bradshaw Gallery @ DJCAD) but yesterday I had the grand opportunity to be involved in the professional printing of Calum Colvin’s image for the D’Arcy Thompson portfolio.

It was an exhilarating process on many levels: to first be complimented by the print technicians at DJCAD Pete and Mark in their invitation to be involved; for Pete to hand the reigns over to me and let me do the printing (I did 5 of the 25 to be printed); to take responsibility for the professional outcome of such an esteemed artist’s work; to do it successfully.  And it was different to the work I was doing at the VRC. Although the finishing process of a print is so important, the task of actually printing the thing is on a whole different level.

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In reality I should have had reserves about being involved in the printing of Calum’s image.  As anyone who has ever encountered my opinion regarding the use of assistants in the production of work will know I do not in general approve of such practice.  But I leapt at the opportunity and am so grateful that I was asked to be involved.  If anything it was just so lovely to be actually printing again!  And interesting to print an image that I had no personal relation with: it allowed me to focus purely on the technicality of the inking* and wiping.  Such things give satisfaction on so many levels, some so deep that only an etcher would truly understand.

I should probably stop now before the gushing etching love becomes overbearing.

*with a brand new, completely untouched pot of ink.  Oomph.

Night Techin', Studio

I am delighted and very excited to announce that some of my degree show prints will be included in the upcoming exhibition “Printed Matter:::::/Print Process.”  Organised by Sean Scott – a 4th year Illustration student at DJCAD with whom I worked for the Edgar Schmitz “Sindanao” opening – the exhibition aims to bring together a whole variety of artists and designers who work closely with print in their practice.  The result will be an eclectic mix of styles and techniques, demonstrating the incredible versatility of print in all its processes on an international scale; Sean has received submissions from Scotland, England and even Canada!

I have submitted the following:

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You may see one, you may see all three!  Either way this promises to be not only a fantastic exhibition but an opportunity to find yourself sharing a space with processes you may not have seen before.  And the only way to truly engage with prints is to see them face-to-face, stick your nose up against them and get a sense of the physical presence of ink on paper.  I find this so with all prints but particularly mine – they just don’t compare on a computer screen.

Printed Matter:::::/Print Process opens for preview at DJCAD this Thursday 22nd February 2013 and will run for a month.

As the first major print-related shindig I have been involved in since graduating you can expect lots more on this over the next couple of weeks!  In the meantime keep an eye on the Printed Matter:::::/Print Process blog.

Curation, Degree Show, Exhibitions

On Friday I brought home a sneaky package from printmaking…what could it be?!

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Yes yes yes!

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Lots of beautiful new postcards!  This is batch one, the next ones will be a little different…deeper  you might say!  But they are in process, so you will see them in a week or two after I have managed to get them finished.

In the meantime here are some snaps from Friday.  I think that the entire process of printmaking, whatever type, is as fascinating and interesting and aesthetically pleasing as the finished product.

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MMMPH.

Night Techin', Studio

In preparation for Selling Dreams Not Clothes (hopefully this Sunday) I thought it would be nice to take a lingering look through my books on fashion illustration and slip into a fashion frenzied mood.  It’s no secret that when I was in school I was absolutely obsessed with fashion illustration, photographs, magazines.  I used to spend about £40 a month on magazines alone, finding myself often more inspired by the creations of fashion editors than many a famous artist.  to the point that I actually applied and was interviewed for Fashion Illustration at London College of Fashion.  In hindsight it wouldn’t have been right for me, but the thought of being swept up in the world of designers, fabrics and workrooms was intoxicating.

So here are a few examples of fashion illustrators that i used to love.  It has been nice getting to know them again.  Enjoy!

Bobby Hilson:

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David Downton

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Francois Berthoud:

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Jacques Demarchy:

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Mats Gustafson:

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Stephen Stipelman:

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Carlos Aponte:

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Pierre Louis Mascia:

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Sophie Toulouse:

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Rene Gruau:

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What I love about FI in particular is that it really has no limits, and it’s all pretty timeless.  It really makes me want to draw again, and to go back and do life drawing; to draw drapes and folds and skin.

In my next post I will show you some of my favourite fashion editorials from a few years ago.  I haven’t scanned anything in since about 2009 so it will maybe be stuff you haven’t seen before or recently.

All of the above images have been taken from the following publications:  100 Years of Fashion Illustration.  Fashion Illustration Next.  Pourquoi Pas?  I do not own any of the images.

Inspiration

Life update/reasons for lack of blogging:

1.  The south of France took me hostage for a week and prevented any blogging.  Roaming charges are stupendous!  When I say hostage I actually mean my lovely parents invited my on holiday with them, and we spent a week traversing the Canal du Midi, eating excellent food and drinking local wine.

2.  The week previous to this was dance club fundraiser week, and I was caught up baking for cake sales, selling tickets and the event itself.  And my brother dislocated his arm, which took up most of my assigned blog day.  So you can blame him.

But, I have good news!  I managed to get into printmaking and make a litho plate for a load of new business cards (decided to keep the same template as I haven’t made anything new yet).  So that day looked like this:

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Except that I didnt have time to take a photo of my shiny new plate, so this is the old one.  But they look the same.

And I am also going to be a Friday evening technician for DJCAD printmaking.  So line up for my printmaking expertise, please.  Exciting times!

And finally!  Myself, Layla, Katy, Tatiana, Sekai and Ana are putting together proposals for group exhibitions in the new year.  I will keep the rest of this story a secret for now until more is confirmed, but at the moment it is so lovely to be getting together with friends and making PLANS.

So exciting stuff on its way.  In the meantime, have a song.  Play it LOUD.

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