Claudia de la Peña

2012-02-08T15:19:00.000-08:00

Taking these pieces back to the Arno creates, to my mind, a cyclical pattern of events that I hope will prove both visually engaged with the surrounding landscape but also relevant to the thoughts I've had over this period (replicas that draw upon new associations; separate to the history of the found object but invariably tied). I like to think that this may gently suggest the fragility of the artistic intervention in a new environment, where one must be forgiving of unforeseeable elements and fluctuating outcomes, as day-to-day, these pieces will become less sculpture and more a-kin to their originals. As riverside debris with little more than their original material values.

Thoughts for leaving behind traces of a sculpture.

2012-02-02T07:04:00.000-08:00

An excerpt of writing from October relating to some new work. (because I am too lazy to re-structure my thoughts into a coherent blog post)

Lorenzo Bartolini exhibition in Galleria Dell' Accademia – here there were examples of plaster models made from marble originals to replace final sculptures that were either currently elsewhere or in other collections. You can see the points where joins were made (like a plastic milk bottle) and where filed down pins were inserted for structural strengthening. There is a great deal more texture on these surfaces, where the process of casting has made unavoidable dents and marks- an enjoyable contrast to the immaculately observed detailing in the figures and busts themselves.

Also on display are early original models of pieces that had been sculpted from plaster or clay, later to be made into the finished marble sculpture. These had some of the same interesting qualities of the casts, but additionally had the sense of having been more roughly made with the process of 'sculpting' and manipulation of the material more obvious. A good insight into how these incredibly austere and polished marble pieces can only be realised from the flexibility of the humble qualities found in clay and plaster.

Obviously, my casts have little of the delicacy and observation of the latter. But I see similarities in the replicas. I feel like I've taken almost no artistic liberties with my casting of the wood and concrete rocks. However, for various reasons, the essence of the original is gone. Concrete and wood, so much directly taken from the scrub land of every day life, are defined by their function, their materiality and strength. In the Bartolini replicas (and in all cases where replicas of this kind are made), the quality of the casting (and the bare evidence of it) bring the mind back to material processes and surface quality, and remove them one step further from it's depiction of reality. I suppose these are 3 dimensional photocopies, with perhaps a few stray hairs and a bit of dust on the glass. In my mind, most of the original qualities and intentions of these sculptures, such as the intricate attention to the contours of a body, the forms of muscle, the pose of the figure, are no longer very relevant (or, arguably, that interesting) and actually give way to the minds new interpretation of what it's seeing – a copy, an object, a thing made of stuff (alright Karla?).

For two things that at first look so similar it seems funny to me that these copies have a completely different function in the material world. The similarities between the original and the copies are obvious but it's the points where one sees the joins, dents, cracks and mistakes that gives them their new material identity and reminds us that we are looking at something else entirely – something that relates to it's original but will always be an amalgamation of other factors, made for the most pragmatic of reasons. I see these attributes as making the replicas almost more fastidious at depicting life than the originals even though, ironically, this seems less their concern. This reminder of surface qualities gives the sense that one is looking at a real thing, made and cast and joined together, as opposed to some fanciful notion of a beautiful woman who looked a bit mournful a hundred years ago. I feel this brings us more into the here and now and causes us to reflect on what it is exactly that makes us feel like we understand the processes involved in every day life. Sometimes the smallest and most unintentional of details can help to give us this understanding.

Take away the original and maybe the copies are enough to be able take their place (as they did in the Bartolini exhibition). Surely they look more or less similar enough? But then I think about my casts and the idea of a concrete block being replaced by a plaster copy and how that seems bizarre and daft because of all the differences mentioned above. However, I suppose the marble statues aren't really the true originals in the way my concrete pieces are- theirs are real flesh and blood, long gone by now and only captured in stone. Which is why I like working with objects and materials- there's more of a sense the originals will always be here, somewhere, hiding in our cities, walls, gardens and rivers.

2012-02-02T06:17:00.000-08:00

A further development from my work done in Florence, currently showing in a small, framed format in the Embassy members show.

making decisions

2012-01-15T15:12:00.000-08:00

2012-01-09T06:01:00.000-08:00

One of my degree show stills, Fabric with Cluster, has been used on promotional postcards for the Fine Art course at DJCAD (which was, I think, for this year's open day).

2012-01-06T07:11:00.000-08:00

Still from Originals and Replicas series.

2012-01-06T07:04:00.000-08:00

I'm at that stage of a project where I'm confined to sitting in front of my computer for days on end and, I have to admit, I really don't enjoy it. Although I'm excited by the way the work is progressing, and that things that need to be done are getting attention, I miss the physicality of making- all the experimentation and fun that comes from that. But, I suppose making is all for nothing if you don't put the time and effort into how it's presented; how it's developed, which is what I'm trying to do at the moment. I get so frustrated seeing some creative people- artists, crafters or just anyone who works visually, presenting their work through sub-standard mediums - lazy finish, a lack of thought or taste in the displaying of a piece and, most pet peevingly, awful, unedited photographs. It's like giving up 9/10ths into a marathon - finish for god's sake!

It's not good enough to claim not to understand technology* or that the work is so self contained it needs no imagination put into the finishing touches. I'm not saying everyone should be getting to grips with using RAW images or Lightroom or buying super expensive equipment, but the simple truth is, times have changed- we no longer need to have access to a dark room to have creative control (though if you do, that's amazing), excellent facilities are now there for the using and we need to keep challenging ourselves to learn new skills and adapt to the tools we have at our disposal. Of course it takes great skill to use programmes like photoshop to their maximum capacity (and retaining taste) but it's also a no-brainer to use it for simple adjustments as well, even if it's just cropping or altering levels. your gran could do it, seriously. Just being proactive and continuing to learn new things is so important (I'm talking to myself here as well....there have been many cases in the past where I've been lazy with final details to the severe detriment of my work...avoiding this is a definite new years resolution!)
Call me arrogant, but having some bloody pride in your work means not allowing other factors drag it down, end of. (ha, being a wee bit uptight is probably a good thing too) I guess what it comes down to is- if you don't take it seriously, naebody else will. so...there's a shovel of sweet smelling truth right there.

* ahh yeeeah, left brain / right brain....the ultimate smackdown

Fair

2011-12-09T07:50:00.000-08:00

sculptures on a weir in florence

2011-12-08T14:58:00.000-08:00

recent film developing

2011-12-08T14:50:00.000-08:00

An early view of some of the work I did whilst away. I'll write an entry soon explaining my thoughts surrounding this project, the process of making the pieces and where I see it going, but i'll just mention that these are plaster casts made from articles collected from the banks of the Arno and its surrounding scrubland. They were made as a series of 12 and were all casts from either concrete, processed wood or brick.

Art Povera 1968 : Exhibition at MAMbo

2011-11-29T16:39:00.000-08:00

A truly exceptional exhibition (and a personal highlight from my trip to Italy), Arte Povera 1968 is installed in Bologna's Museo di Arte Moderna di Bolonga and is a nod to one of the first Arte Povera exhibitions held in Bologna in the the late 60s. I had fallen in love with this group of artists a few years ago (as this blog undoubtedly documents), though hadn't really looked much at their work in the past 8 or so months due to overkill thanks to my dissertation on the subject. Well, what a joyus re-discovery!

Having found the 'Enery and Process' wing at Tate Modern ineffective at showing the movement in it's truest, most dynamic light (a sense of museum-type stuffiness compromised many of the works), I was concerned this would be another detatched, 'on a pedestal' presentation of Arte Povera. However, as is obvious from the above gushing, I needn't have worried -my first thought as I walked into the exhibition space and read the introductory text was 'this is curated by someone who really understands and loves these artists'. So, it didn't surprise me, and gave me considerable delight, to find it was co-curated by the art critic who famously coined the term 'Arte Povera' (and curated most of their earlier exhibitions), Germano Celant. It's so important for a group show like this, showing work of some historical importance, not to be distracted from the original intent of the works. It takes a confident curator to embrace the nature of the sculptures as they are intended, and to put aside any sense of preciousness at the fact they are symptomatic of a particularly important time. good job lad.

It's a shame that the above photographs fail to do justice to the true intelligence and potency of the work - there was what I can only describe as an exploratory gravitational pull around the room, each piece offering some new element to discover and contemplate. But I suppose a lot of experiential sculpture/installation has to contend with the difficulty of the 2D image....it's always better to go see.

Anyway, these guys were unarguably trailblazers so, if you haven't already, look them up sometime - the work is still fresh, clever, relevant and, for want of a more poncy word, beautiful. Which is pretty impressive for something that lasted for 4 years, 40 years ago! I want me some of that staying power.

///// Interpretation from the exhibition\\\\\

Arte Povera started in the late 60s in a synergy with the emancipation movements and the protests characterising an age whose main trait was the liberation from social conventions and the status quo. Critic Germano Celant noted how some artists pursued a "linguistic split", shifting their interest from forms towards processes, from aesthetics to intentions, from objects to gestures, from a work's self contained space to the infinite potential of time and experience. The name derives from 'poor' (povero) theatre, as theorised by Grotowski, and references the strategy of reducing (impovershing) signs, in a search for what is primary and essential. This was also an attempt at backing out from the constant accumulation of traditions, returning centrality to mankind, instead of granting it to it's products.

Arte Povera rejected cultural sediments and hence was unwilling to present itself as an avant garde; already in 1971 Celant declared the movements end, it's disintegration into individual artists' experiences, each of them developing a specific path with a particular attention to materials, conceptual apparatuses, formal disaggregation and recombination, behavioural practices, poetic activity: all these aspects now define what has come to be seen as a conventional way of understanding contemporary art.

The show presented at MAMbo takes it's cue from one of the first Arte Povera exhibitions, held in Bologna in February 1968; it is part of a wider effort shared by many Italian museums, of elaborating a historical interpretation of a movement born out of a rejection of institutional knowledge; paradoxically enough, such a movement, alongside Fascism, represents Italy's most important and influential artistic movements of the 20th century.

finally updated

2011-11-28T09:31:00.000-08:00

I've almost finished updating this blog with an amalgamation of previous work, including my degree show. It's taken me long enough to get round to it, but I have a fairly decent excuse in the form of having spent a total 5 months in Italy (it was bloody great, by the way!). Hopefully with the bulk of it now done, I can continue to add final works at more regular intervals, including some new images I'm currently working on for the completion of the John Kinross Scholarship. Lot's to be doing, now that real life is beginning (rather belatedly )for me.

See right for newly updated work.

Scrub Land

2011-11-15T08:35:00.000-08:00

Some images taken from my photojournal. These are some indication of what has been grabbing my attention over these past two months, more of which will be coming soon, after a heavy photo editing session.

people watching in Firenze

2011-11-01T09:08:00.000-07:00

Callin out...

2011-09-19T16:44:00.000-07:00

..to anyone who looks at this blog. If you are reading this page and the layout looks funny on your monitor, please, please leave a comment-I'd really appreciate it. By 'funny', I mean the top banner not having a full box around it (aka not looking shithot), there not being any sign of links to the right hand sidebar or if anything just looks generally untidy/squashed. As I'm currently senza website, I'm trying to tame this blog, in the manner of an unruly bonsai tree, and keep everything looking alrightish. thanks lads.

Karla Black, details of an exhibition

2011-09-19T14:56:00.000-07:00

re-processing (Sunday)

2011-09-14T05:35:00.000-07:00

re-processing (Saturday)

2011-09-11T12:53:00.000-07:00

re-processing (Friday)

2011-09-08T17:17:00.000-07:00

gold-plated

2011-09-07T13:55:00.000-07:00

A sculptural piece made for Octagon Exhibtion at Dr Neil's Garden, as part of Edinburgh Fringe Festival.

Some things collected from Venice

2011-09-07T04:53:00.000-07:00

From top left: The World Belongs To You - Exhibition at Palazzo Grassi, Melanie Smith - representing Mexico in the Biennale, Francisco Tropa - representing Portugal, Luciano Fabro - L'Italia d'oro - selection from the Francois Pinault Collection at Palazzo Grassi, Julian Schnabel - Permanently Becoming and the Architecture of Seeing - Museo Correr, Marisa Merz - No Corresponde Eppur Fiorisce - Fondazione Querini Stampalia, Museo Pino Pascali, Tim Davies - representing Wales, Baciami at San Marco, invite to the opening night party for Scotland's Karla Black show, Frog King - representing Hong Kong, Anish Kapoor - Ascension, Street View, Hany Armanious - representing Australia.

*Further addition- a picture of Holly, Hannah and myself at our faux graduation, spent drinking prosecco in a gondola (thanks to Creative Scotland! baci!) and sitting on Rialto Pier with a motley crew of Information Assistants.

Sentimenta-shed

2011-08-26T16:01:00.000-07:00

I thought it'd be longer before I started to miss my old studio space, but it turns out I really do already. I wasn't very sentimental about leaving Dundee, but it is going to be strange and sad not coming back to work at DoJ come September . I hope whoever has the left shed next year will treat her well!

Photography from Degree Show 2011

2011-08-04T09:10:00.000-07:00

Violet Bound, Digital Still, 2011

So in a few days, I will have to (finally) fully dismantle my degree show. It has been a strange few months - hectic, brilliant, confusing, exciting- but now I'm back briefly in Edinburgh and need to start cobbling together a life beyond art school (good god).

Having had to leave for Venice before the official end to our degree show, I am eternally grateful to Ronnie Oakley and Gary Fisher for allowing me to leave this delicate job till this ridiculous date. It's meant a great deal less stress for me and my dad!

Anyway, to commemorate this odd standstill between one big thing and another, I thought I'd post a photograph which featured in my show. I'm afraid a website is beyond me right now, but I'm working on it.

Octagon

2011-08-01T06:54:00.000-07:00

2011-07-29T09:28:00.000-07:00

Links

2011-07-04T10:01:00.000-07:00

Scotland + Venice Blipfoto

Scotland + Venice Website

Karla Black

la Biennale di Venezia

Reviews and Interviews:

The Skinny, This is Tomorrow, The Independent, Frieze Magazine, The Guardian , The List, The Scotsman, Art Review Magazine

Fiona Bradley on Karla Black by fruitmarket
Recording of Fiona Bradley, curator of the show, talking about Karla Black's work.

and finally, a short interview with Karla in the palazzo.

Degree Show 2011 (details)

2011-06-11T04:14:00.000-07:00

Sphere Shelf, 2011, plaster, Birch Ply wood, willow, paint

Dolly Pegs, 2011, pine wood, paint

(photography: Matt Cameron)

Some details from Fine Art Degree show

2011-05-23T10:10:00.000-07:00

Clockwise from Bottom Left: Holly Knox Yeoman, Julie Duffy, Amelie Lindsay, Garance Warburton, Rosslyn Oman, Hannah Champion, Sarah Johnston, Rebecca Jones.

Here are just a few of my favourite things from people in my year. There are so many more pieces I love, but these are just a few details. I've tried to avoid pictures that give away too much of anyone's show, but if anybody would like me to take theirs down, please let me know and I will do so asap!

Firenze + Venezia

2011-05-20T04:52:00.000-07:00

I don't think I've mentioned on here about a couple of exciting adventures in store for me over the coming few months. Back in February I was absolutely delighted to hear the news that I'd been selected for one of the RSA scholarships to Florence. The John Kinross Scholarship is given out every year to a selection of 10 4th year & Masters Fine Art and Architecture students across the Scottish art Schools (ECA, GSA, DJCAD, Grey's) in order to afford us the chance to live and work in one of the most artistically and architecturally rich cities in the world. As evidence of our study, we are expected to produce a body of work to be presented to the RSA on our return. Where, I am told, they'll select a couple of pieces for their archives.
I've decided a September - November excursion to avoid the most tourist heavy months and to enjoy the antiques Biennale in October-whyaye! Needless to say, I am looking forward to planning this trip massively and have been enjoying this present from my mum in the quieter moments between degree show mayhem:

Another exciting Italian event is the Venice Biennale, particularly now that Karla Black, representing Scotland this year, has also just been announced as a Turner Prize Nominee. Martin Boyce, also from Glasgow, also a TP 2011 nominee, represented two years ago in Venice, so here's hoping for some Scottish magic to continue with the Susan Phillipsz success of last year.
What this has to do with me is a very small part. Back around March, The wonderful Fruitmarket Gallery of Edinburgh (curators of this years show) came through to Dundee in search of a team of 3 Information Assistants. After submitting an application and an interview with Katy Nicoll (from Scotland + Venice), Ian Morrison (from Fruitmarket) and Tracey McKenna (Acting Dean at the time), the team from DJCAD was decided and I was so thrilled to be told I was part of it. Together with 2 teams from GSA (Dundee goes out first and swap over after 2 months) we will be looking after the exhibition, providing visitors with all the info they need (practically and intellectually regarding the work) and living in the Scottish Pavilion!

The Scotland + Venice facebook page just posted this mysterious image of the Karla Black install(which is happening right now)....a pretty tantalising shade of blue...

Leaving on the 27th means we haven't time to even finish the degree show, but it's a small price to pay for what is sure to be an immeasurably fascinating and fun two months- I'll try and keep this blog up to date!
In the mean time, the DJCAD Degree Show opens tonight at 6pm and is sure to be great. Look forward to seeing everyone there!

Cairds

2011-05-10T05:07:00.000-07:00

details from install week

2011-05-10T04:45:00.000-07:00

Neccessary Celebratory Song

2011-05-09T14:00:00.000-07:00

Do not readjust yer CD players, ladies and gentlemen, I think ert school is out.

update your blog, yo!

2011-05-01T13:43:00.000-07:00

calming me doon.

2011-04-27T11:10:00.000-07:00

Enjoying the new album from Atmosphere, 'the Family Sign', particularly this single. Can't say I'm really a fan of this naff video- however the guy serving lunch is everyone's fav indignant vanilla hued rapper Brother Ali, which definitely gives me some joy. Keeping me calm during these here stressful times.

Degree Show Invite (alt version)

2011-04-25T14:23:00.000-07:00

Great invite by Holly Knox Yeoman.

a matter of taste

2011-04-22T11:36:00.000-07:00

I just bought vinyl lettering in gold.
Is this it? have I finally given up on taste? Is this what it feels like to be Linda Barker?

I type 'bad taste' into google and all I see are things that I like.

Copper coil & ball

2011-04-18T13:09:00.000-07:00

Suspension

2011-04-15T07:31:00.000-07:00

Pedro Cabrita Reis

2011-04-11T14:41:00.000-07:00

2011-04-05T03:00:00.000-07:00

TateShots: Karla Black

2011-04-04T05:31:00.000-07:00

A wee video of Karla Black talking about her work in her studio. What a lovely way she has about her...so relaxed and sincere. What she speaks about at the end of the video I can really relate to - it makes me think of my background in drawing and painting and the fluidity between painting and sculpture that's influenced my work. I can't wait to see her finished show at the Biennale.

"I don't want it to be just pure gesture, in a way that is just an acting out of something, in a way that's a self indulgence to think that's enough, to not work back into it. So I suppose I have to work back into it like a painter. It's a really formal way of working. It's really just thinking about aesthetics in an abstract sense and always thinking about the composition and the relationships between form and colour...that's what a painter does. In the end I'm bringing that sensibility and process into sculpture- that whole process of painting is the sculpture."

good news for new talent

2011-03-23T10:02:00.000-07:00

Feet for Hands from Matt Cameron on Vimeo.

Was dead proud and pleased to find out my better half Matt Cameron's short film 'Feet for Hands' won Best Comedy at London's Screentest Festival last weekend. He and his producer, John Fairfield, have also been nominated for a New Talent Bafta for his other degree show film 'Meta' (for Visual Effects and Producing, respectively), the results of which we will find out tomorrow night - exciting!

Martin Puryear

2011-03-22T08:24:00.000-07:00

"Puryear began his career in the 1970s alongside other members of the Post-Minimalist generation. Working primarily in wood, he has maintained an unwavering commitment to manual skill and traditional building methods. His sculptures are rich with psychological and intellectual references, examining issues of identity, culture, and history." taken from MoMa

Totally loving Martin Puryear after being shown his work today by Derrick. I love his combination of traditional African craft and gestural minimal sculptures - a happy coupling of rustic and pristine. S'what I'm all about.

details from the studio

2011-03-22T07:56:00.000-07:00

Guy Batey

2011-03-15T08:43:00.000-07:00

I'm a sucker for anthropomorphizing objects. I'm aware it's kind of a twee habit but if your practice involves a lot of found material like mine does, you start seeing objects more as friendly beasts than functional forms. With that in mind, I really love these photographs by Guy Batey, found via Junk Culture. This particular series are photographs documenting found objects on South London's Southwark.

Simon Starling

2011-03-14T11:12:00.000-07:00

1-Exhibition view, Casey Kaplan, New York, 2002. 2-Installation view, Turner Prize 2005 exhibition.3- The Long ton 2009, Tate St Ives, 2009. 4- Island for Weeds, Courtesy of the Modern Institute Glasgow, 2003

English conceptual artist and winner of the 2005 Turner Prize, Simon Starling provokes unexpected crossings between objects, materials and events. He produces hybrid works that seem to come from another space-time continuum. From the outset, the subject of Starling’s work has been the labour expended to produce it. He displays the end result of carefully planned processes, and although the viewer only sees a reconstructed object, they are encouraged to consider the story behind its construction and transformation

Engaging directly with the sites where he exhibits, Starling often retells the stories of a particular place while making revealing – and often unexpected – connections to distant times and places. Travel and various forms of transport play an important role in the artist’s work: his own pilgrimages mimic or re-trace the paths of the resources and stories that drive his investigations and illustrate the collapsing nature of the globe. He describes his work as ‘the physical manifestation of a thought process’, revealing hidden histories and relationships.

Formidably inventive, Starling ranges widely among installations, elegantly fabricated objects, rough-and-ready assemblages, photographs, short films, books and more.

Taken from We-find-wilderness

a tale of ineptitude

2011-03-11T08:04:00.000-08:00


my original image

What Jessops thinks is acceptable

I dream of the day when I can visit this high street haven of photography and feel safe in the knowledge that I will actually receive what I asked for in the first place. No maddeningly unnecessary crops (4 times this has happened, all after i've specifically asked them not to!), no 'oops we forgot your order can you just wait 20 minutes?', no 'oh I'm just going to serve the ten other people that came in after you cos I don't like your face'. I'm not saying their prints aren't lovely (though watch out for that nasty gloss finish) but I am not afraid to go on record in saying this - I think the manager of the Dundee branch is a total fucking idiot with no people skills, even less photographic knowledge and a big stupid face. so there.

In other news, thank god it's the weekend.

2011-03-11T07:37:00.000-08:00

a quick snap of part of our wee 4th year exhibition. R-L: Holly Yeoman, Me, James Mitchell, Raluca Iancu, Yvonne Billimore.

Studyo

2011-03-04T07:48:00.001-08:00

2011-02-28T12:20:00.000-08:00

poster I designed for a wee exhibition we're doin' down the caf. Come if ya'll want. I'm putting in an intensely framed photograph. Though I've now decided that my work doesn't enjoy the benefits of a window mount.

shelf balls

2011-02-28T12:11:00.000-08:00

Birch ply shelf with painted and glazed hand thrown pots, each containing a plaster sphere.

stakes is high

2011-02-22T14:09:00.000-08:00

Wee trio

2011-02-19T05:58:00.000-08:00

It's surprisingly hard to step back in the white space. Photography helps, as does time. If you work like I do, with a purposefully fragile grasp on how things should pan out, then it's usually only after you've finished and packed everything away that you see more interesting possibilities and potential. Which is actually quite tricky when you're planning a degree show in 3ish months...

an image

2011-02-16T18:25:00.000-08:00

An early image from Crail RAF base.

Collection(s) part 1

2011-02-16T11:46:00.000-08:00

Collection(s) Exhibition

2011-02-13T06:59:00.000-08:00

Had a really fun and productive trip to Crail on Thursday. It was one of the sunniest days so far this year, and one of the best locations of this sort that I've seen. It's a total beaut-we were so impressed we basically just gave a running commentary on how amazing everything was for the entire day. For more info about the history you can visit here.
I'm now in the midst of editing and processing photos, trying to decide which are really just documentation and which are more successful in dealing more directly with my work and ideas. I really like the idea of artistic re-appropriation of places, and it seems particularly poignant that these buildings were clearly once living quarters. However, it was a challenge trying not to get too distracted by the surroundings. Keeping interventions minimal and subtle was the aim, really.
Anyway, I hope to get at least 2 really strong images from this trip. More would be a bonus, but you can't ask for everything!

Kirsten Lepore

2011-02-09T11:56:00.000-08:00

Kirsten Lepore is a free-lance animator from New Jersey, NY. A friend sent me THIS amazing and life-affirming video which got me looking into the rest of her work. Here are three of my favourites...

A sweet, sad and technically brilliant video.

Hearing too much of this can do yer heid in. specially when you're just a simpleton.

A Narwhal discusses his lifestyle choices.

Richard Pearse

2011-02-07T15:47:00.000-08:00

Tasty sort of things, made of painted wood. These would be hard to not like. Click through to see more detail and for more visit HERE

Shed (the mid-tone highlights)

2011-02-04T13:00:00.000-08:00

Jim Kazanjian

2011-02-01T13:03:00.000-08:00

These digital collages are by artist Jim Kazanjian. He makes these amazing semi-exploded panoramas by careful manipulation of photographs collected from the Internet and placed meticulously together. His work appears to be based in strange alternative worlds, influenced by surreal architectural elements and often referring to deterioration and decay.

"I’m interested in how an image has the potential to sort of unravel and begin to suggest something outside of itself. By this I mean something beyond the obvious and only discovered through a continued process of viewing."

Found Via JunkCulture

Crail RAF base

2011-01-25T10:46:00.000-08:00

An abandoned series of listed buildings near Crail, located within the old RAF base. These beautiful locations were shown to me by a classmate - and her photos were infinitely more inspiring than google's offerings above. I'm thinking this could be a really valuable location for new works as there is both easy [ish] access and lots of natural light. It's funny how listed buildings like these are not susceptible to the tearing down or re-modelling of urban environments, yet they are completely vulnerable to the natural deterioration common with barns and sheds. As an avid non-combat supporter, I find the artistic re-appropriation of these buildings quite satisfying.

GENERATOR projects

2011-01-19T02:10:00.000-08:00

I have some work in the Generator Projects' annual members show, which opens this Friday and runs till 13th of Feb. please come along and admire the frame what i done did (and perhaps the photograph in it, though that's up for debate)

Ideas for lighting

2011-01-18T04:17:00.000-08:00

Ideas for lighting up a shipping container.
And some in situ, taken by Matt

Memorama

2011-01-17T02:15:00.000-08:00

Memorama is a Mexican memory game. there are doubles of each card [these are just a few of my favourites], which you then place facing down, and each person gets a go to try and pick a pair. This card game is as old as time, I'm sure, but I feel the images are too good not to share. I particularly like the pig.

Finalmente terminado!!

2011-01-11T15:02:00.000-08:00

will not miss seeing those wee sticky labels for a long time

All is well, though; the diss is done!

Nils Nova

2011-01-07T10:18:00.000-08:00

Schatten voran

Similar Encounter

large scale, mind bending photographic installations by Nils Nova

Aaron Moran

2011-01-07T10:08:00.000-08:00

Inspired work by Aaron Moran. Here's his Tumblr

Pistoletto

2011-01-07T09:37:00.000-08:00

one of my fav Italian stallions, he's got a twinkle in his eye and he isn't afraid to use it. I think the only Povera artist to actually have a website.

2010 be gone, be gone

2011-01-03T10:10:00.000-08:00

I thought I might post a few photos documenting my past year. It is likely this will be tedious, but if you want to read more, please do.

January. I document small parts of my studio, which was set up for assessment before Christmas. A semi-installation, meant to be explored, culminating work from september to december 09.

February. I start to find many new and wondrous things. I paint my hair broon and a pallet red and make a series of photographs inspired by it. I also create two lino cuts, based on a peg design. They can be put top to bottom, in a never ending sort of way. continue to make things. Also have my mind bended and eye brow arched by the Kill Your Timid Notion festival at the DCA and got really cold but inspired in Berlin.

March. it seems I was in the small white space again for another week of concentration and frustration. Got a new laptop, which has been incredibly useful for quick processing and trying to beef up my skills. seem to recall there were a lot of fundraisers and sleeping underneath Matt's desk in the edit suite as he worked late into the night on Meta.

April. Have some fun in the production studio. I wanted to get my final images looking like 18th Century portraits -sort of hyper real and very static. I wanted to take the 'every day' and 'ordinary'[those awful expressions!] associations out of the pieces and impose some of the drama found in this era of painting. Er, also had more assessments.. feel average about my work, as i hadn't quite got to grips with the idea that just because you have lots of space, it doesn't mean you have to fill it all up. feedback went very well though.

May! the fourth years have final hand ins and get their degrees. Hannah and me venture to the art bar only to find everyone in a slightly manic state of celebration. Degree show is exciting. me and al walk home at about 8am and the sun is blazing, so i guess that means it's summer!

Summer... a trip to the beautiful island of Iona. do some work in the landscape and just generally chilled out and had fun. Matt graduates, as does my brother, Pablo. actually, as do a lot of very nice people! Spent a week painting, drawing and printing toothbrushes in Leith. mixed results. Watch far too much ER, go to the big chill, do loads of shit.

September. 4th years begins. move into the shed. make some screen printed fabric. spend another week in the white space. do various things, some good some bad. listen to a lot of fleetwood mac, and do a lot of dancing with captain's Howarth and Imlach, some documented, some, thankfully, not.

October. Make some site-specific work in Edinburgh, using insulation material, baskets, fabric and wood. start making some oblongs and have interesting discussions with my tutor Derrick. Listen to Bobby Womack.

November. dissertation sets in. mum and I go to London to see the Arte Povera wing in the Tate. try and do some more research. have one of the best nights in a long time dancing wildly to the same 5 songs and coming up with ever more experimental moves. Hid away from the snow, trying to write, feeling increasingly like Jack Torrence.

December. mid-year assessments. lots of new work seems to have appeared. really lovely birthday weekend with my fav people at my mum's lovely flat in stockbridge. lots of drinking and laughter and getting used to a different, less traditional Christmas. good Hogmanay, too, and rather too many memories forgotten. Now, I am tucked away, working on the final part of my dissertation, looking after the dog and generally lording it up in edinburgh.

here's to 5 fun years with someone I love, many great times with my bestest pals Maddie, Hannah and Jess, a time of happy change for my family and a few moments of accomplishment for me.
And to 2011, when hopefully everything will change and I can try and do all the things I've been desperate to do.

Mexican, Moroccan and Renaissance baskets.

2011-01-03T03:47:00.000-08:00

(Click for ability to see da weave.)

Christmas Trees

2010-12-29T08:31:00.000-08:00

I think I might try and make something like this for next year. I know it hasn't got that pine fresh odour, but it's more Eco-friendly and is, I imagine, quite chic (if you remove the above naff decorations). This is by Wood & Wool Stool.

Actually, thinking about it, this one is more my style. It's made from pallets! via Apartment Therapy.

Also, Matt's mum and dad gave this plate which was one of my fave presents. He looks so thoroughly unimpressed...it's a face I can really relate to. It's by Donna Wilson.

quite like to be here

2010-12-28T10:14:00.001-08:00

Jessica Stockholder

2010-12-22T09:11:00.000-08:00

something a wee bit cheery to brighten up endless dissertation days and progressively grumpy mood!

2010-12-20T15:00:00.000-08:00

god, is anyone else sick of twee blogs? you know,the ones that update every inconsequential, self aggrandising detail of their lives? that try to sell you shit all the time? that attempt to make you jealous of their lovely wee lives, when really, all you can think of is the sheer time and energy they put into something that is essentially just as cynical and shameless as the rest of us

Strip-light willow

2010-12-17T07:01:00.000-08:00

This is the piece that was a bit tricky to get yesterday, but I think we got it today. If you're interested, I've put some other pictures from assessment up on MA FLICKR. A few close ups n wide shots n that. Filming can wait til 2011...

one piece from assessments

2010-12-16T10:04:00.000-08:00

The above is part of a mini-series that I've rather grandly named 'missapropriation of objects'. The idea for these works involves using characteristics from particular environments as a starting point for new sculptures. I feel that applying these certain traits, such as textures, shapes or colours, from an old thing to a new thing creates an interesting link between them. It helps bond object and place, which seems such an obvious thing to say about installation, but i feel this is done in a more gentle way than some other more gung-ho site specific installations.

I like the feeling that some things (sculptures, objects, gestures) are never fully complete until they're in their true habit. The barn doors in my studio, for example, are the only place where these two pieces would really make sense and not just look like a couple of pallets loitering perilously on stilts. (which, I grant you, they may still do)

I'm still very much working within the parameters of found things, using them to relate to notions of familiarity and the attachment to objects, but it's the more immediate visual connections that have been intriguing me lately. Getting the right balance of materials is something I didn't really think about last year, (it was a lot of furiously throwing metaphorical paint at the wall and seeing what felt right) but I realise now it's quite a delicate and thoughtful process. So, um, yeah.

Today Matt was kind enough to help me get a few stills of the above and other assessment work. I've just been noodling away on them in photoshop and there are a few gems in there (of course, as M is totally tba), but still might need to go back and get a couple more of my strip-light-willow piece as they were a bit blurry. I'd also like to get a bit of filming done, but maybe after dissertation, yes?

indoor fireworks in the shed

2010-12-10T15:53:00.000-08:00

rake in the wilderness

2010-12-10T15:48:00.000-08:00

happy snow day!

2010-12-01T04:47:00.000-08:00

ladder

2010-11-28T08:52:00.001-08:00

A short stop motion experiment in the studio. Oct 2010

post for Al

2010-11-25T12:28:00.000-08:00

a series of chairs, windows, grimey trumpets, dogs, trees and oh so edgy film stills to apologise for being lame.

Amalia Chimera, Andrei Tarkovsky, Annabel Elgar, George Bures Miller & Janet Cardiff

Guerrilla Girls

2010-11-25T06:44:00.000-08:00

trying to figure out if I suit this 'angry feminist' hat. yes, yes it seems I do...

for anyone who has ever loved a dog

2010-11-24T07:12:00.000-08:00

Last Minutes with ODEN from phos pictures on Vimeo.

Shown to me today, this is sad and beautiful in equal measures. I really recommend.

last weekend

2010-11-20T05:31:00.000-08:00

// Energy and Process wing at Tate Modern // Michelangelo Pistoletto // Marisa Merz // Jason Rhoades // tangerines // fish pie at Susie's house // No New Thing Under the Sun exhibition // Rachel Whiteread // Mario Merz // Fiona Banner // Mum

last weekend, me maw kindly took me away to London to do some dissertation research and see my brother. The Library and archive section of the Tate was kind of frustrating and difficult to use, which was a shame as that's what i was most looking forward to doing. but it was more than made up for by the incredible amount of tasty art we saw....i felt quite emotional standing underneath Marisa Merz's Living Sculpture piece- so nice! Jason Rhoades was a great discovery [as was the Hauser & Wirth Gallery] and I loved Rachel Whitereads sensitive and understated drawings. It was really valuable to see so many of the Povera artists in one setting, as well as some of the lads from the Land Art and Anti-form gang. gid one guyz!
I think it's easy to forget how important it is to see art in the flesh. It's so exciting to experience and interact with artwork, and some of that gets lost in replication. which reminds me, it was great to see Ai Weiwei's Unilever Series (Sunflower Seeds) too -though it's criminal that it's no longer an interactive exhibit! i bet he was furious...bloody asthmatics!

oblong peg casts

2010-11-19T02:55:00.000-08:00

Today programme

2010-11-19T02:29:00.000-08:00

There was a wee segment on radio 4 this morning at the end of the Today programme about painting. It was a really interesting, short debate about whether painting has a future in contemporary art. Turner prize winner Mark Leckey believes painting has become 'boring and stuck in the past'. Whilst Jennifer Higgie [co-editor of Frieze] talks about how painting can still be 'vital and exciting'.
Mark Leckey argues painting is faltering because it's a physical, singular act, with a singular object as the outcome and that the world we live in is of 'the multitude'. He also says that in the music and publishing industries that records and books are no longer in effect and that the same will happen within the art world.
Jennifer Higgie points out that in a world where we are overloaded with images that making and looking at painting is a way of slowing down and thinking deeply about one thing. She says that there is far too much emphasis on medium these days and that what's important is interesting ideas, and putting them across in an intelligent, art-historically aware way.

I'm inclined to agree with the latter point of view. of course, there is bad painting, bad installation, bad conceptual art but when it comes to sincere, genuine ideas and thoughtful processes "the world is big enough to accommodate lots of different responses"
Plus the argument that everything has already been done in painting is like saying everything has already been said. With evolving culture and constant shifts in social/politcial priorities, art should be a mirror, and therefore, all mediums can be fresh and relevant.

OVER YOUR CITIES GRASS WILL GROW

2010-11-09T05:12:00.000-08:00

Short clip from a new film on Anselm Kiefer by Sophie Fiennes. On for one night only at the DCA, 16th November, 18:00

copper, rake, fabric

2010-11-08T07:29:00.000-08:00

An image that came from some time in the white space in October. At the time, it wasn't particlarly exciting to me but looking at it today on my desk, I kind of like it. I think there's a lot of potential for more use of fabric in my work...

I've also spent a wee bit of time uploading some recent work onto my flickr. I use flickr a lot instead of facebook, as i feel i'm more inclined to edit myself and choose pictures that are more meaningful to me. I've uploaded some more pictures of work that I've posted here, [stuff done in June-October] though I always have a dilemna of whether or not putting lots of my stuff up online is a good idea...I'm still not sure. not because i think anyone would steal it, just because it seems like it maybe diminishes the value..or something? I seem to remember having this problem last year and deciding not to put stuff up...oh well!i'd love to know what anyone else thinks about this....

The shed [aka my studio] is baltic today...it's definately winter now, lads.

baskets

2010-11-04T03:40:00.000-07:00

wind & reeds

2010-11-02T18:00:00.000-07:00

wind & reeds from Claudia de la Pena on Vimeo.

As the result of a very interesting tutorial with Louise, I dug out this video from the summer. yes, it's rough, blue and not terribly interesting, but I think video is a path that needs to be explored. Louise mentioned that films of sculpture and installation is quite an untrodden path. and that's always quite nice to know.

More Jannis

2010-11-01T14:30:00.000-07:00

2010-10-31T10:38:00.000-07:00

Things that interest me right now:
plaster, crates, yellows, pinks, pea greens, shipping crates, domestic structures, human scale, breaking and entering, wooden frames, winter backdrop, self control, breakups, breakdowns, cracks and faults, love and understanding, freedom, intuitiveness, thoughtful repetition, bundles, wrapping, the benefits of having a choice, oblongs.

basement series 17-211010

2010-10-28T11:32:00.000-07:00

ballz

2010-10-27T14:57:00.000-07:00

possible degree show location...?

2010-10-26T16:15:00.000-07:00

In an ideal world, I'd be installing my work in one of these badboys come May...

B and Q and sweet deals

2010-10-19T14:54:00.000-07:00

This week, I've fled the studio to stay with my dad in Edinburgh. He's in the process of re decorating so we took a wee trip to B&Q this morning...This is essentially my idea of heaven. It's like an art shop for people who like tool wielding, manly times. for example, instead of having to buy a set of expensive artists paints, you can get samples of any colour for a mere pound! and PVA by the bucket! and pliers/drills/screw drivers in wee handy sets for 6 quid! samazin.
I also picked up a massive roll of insulation material for 3 quid. it's totally beautiful- soft, synthetic and a weird brown colour. Jess pointed out it was exactly the consistency and smell of candy floss. just mildly poisonous when you spend the entire day sewing into it without gloves/facemask.
i got a nice strip light as well, that my dad managed to fix up to a normal plug. I'm trying to do a few site specific works in dark, dingy places so having a light involved in the proceedings is handy.
I'm thinking about the psychological attachments people have with family homes, particularly attics and basements. there's a lot of understated melodrama in these places. Pretty detached to every day life and yet really quite intimate. It's cyclical, sort of saying 'this is really important to me, so i'll keep it tucked away for 20 years, but i don't really want anyone else to know why it's so important cos it's so personal.'
Anyway, it's a vague, on-going interest that doesn't have any proper research behind it except my own experience. but it sometimes filters into my normal work and whilst I'm here, i think it's a good vehicle to explore new spaces.

Sarah Pickering - Incident

2010-10-19T06:21:00.000-07:00

Sarah Pickering - Fire Scene

2010-10-19T06:17:00.000-07:00

'127 Hours' trailer

2010-10-15T12:09:00.000-07:00

What appears to be an exciting new film from Danny Boyle...I'd recommend the trailer at least eh.

Anselm Kiefer - Falling stars

2010-10-14T04:01:00.000-07:00

WOW