24 November 2012

V&A (Contemporary Ceramics)

(Gorden Baldwin-Vessel from a Quartet II, 2004-2005)

(Gorden Baldwin-Vessel from a Quartet II, 2004-2005)

(Ken Eastman-November Night, 2002) 

(Ken Eastman-November Night, 2002) 

(Ken Eastman-November Night, 2002) 

(Martin Bodilsen Kaldahi-Dazzle Vessel 3, 2003)

(Martin Bodilsen Kaldahi-Dazzle Vessel 3, 2003)

(Martin Smith-Presence and Absence No.2, 1998)

(Martin Smith-Presence and Absence No.2, 1998)

(Martin Smith-Serial Dialogue in Fifteen Parts, 2007)

(Martin Smith-Serial Dialogue in Fifteen Parts, 2007)

Last week I was in London for a short time, I had not been to the V&A Museum for quite some time so I went inside to have a quick look, but I especially went in to see the ceramics and see if anything had changed. 

I did not see any big noticaible changes to the ceramics collection there, I still worked my way through the endless presentation of ceramic pieces enclosed in glass cases till I came into the Contemporary Ceramics room. There I saw work from artists such as Gorden Baldwin, Ken Eastman, Martin Bodilsen Kaldahi and Martin Smith. This time I was particularly drawn to these artists works because I could see a connection between all their work. Most of the work is of a vessel form, they all seem to occupy/utilise space which in turn made me want to investigate the work further and colour also seems to be an important feature in either focusing the eye to different parts of inside or outside of the form or in a way braking up the form. It is interesting in seeing multiple ways in which the vessel can be reinvented and presented to display sculptural characteristics, they seem to take on some other presence.  

However looking at this work a notable feature is its reference to architecture, as I find my self recognising in the works aspects of geometry either in form or colour. More and more I find myself being drawn to this type of work and being able to formulate connections. I think fundamentally why I drawn to this type of work is because it invites me to move around it and explore. It is a type of curiosity, leaving me to make my own judgements about what I am seeing as everything I have mentioned is I guess my own interpretation and another person's experience of the work will probably be different to mine, there is no definitive answer to what is being seen.  

15 November 2012

York city centre, selected pictures

Lately I have been continuing my ever increasing mission of taking photos to help influence my thinking in relation to my theory and practice. These pictures were taken in York the last time I was there, they are quite random as there is no particular one place in York to which they have come from, I just mainly selected the ones I most liked from the collection I have.

I have not manipulated  the pictures in any way using photoshop this time round, however what I have done is to change the way the pictures are seen by displaying them in ways that are un-corect to their original perspective, so really just by rotating the images from their original position. It is so simple but it makes me look at the pictures in a whole different way, I suppose its like turning reality upside-down or making it appear unusual to how it would originally be seen. Although I find it is still possible to make some connections to the subjects I am seeing. It is not all together abstracted to the point of the image being completely unrecognisable.

This seems to be a noticeable feature with a lot of my photographic research as the images retains their connection to reality no matter what I do to try to manipulate them and change the way they are seen, there is always a trace. Perhaps this is a good thing, you know its something from reality but your left to contemplate on perhaps certain features such as the elements that make up the composition of the pictures. Maybe that is mostly what its all about-the composition, the elements? 

14 November 2012

York Art Gallery (Art and Music)

(Malcom Hughes-Study No.3, 1983, Born-1920-1997)

(Luigi Pericle-Supramental Transformation, 1962, Born-1916-2001)

(Oliver Bevan-Flickering Grid, 1965) 

(Wilhelmina Barns-Graham-Orenge Form, 1956, Born-1912-2004)

(William Staite Murray-Motet for Strings, 1937-39, Born-1881-1963)

Recently I had some of my art work displayed in York at the New School House Gallery, so it was a good opportunity to not only see that exhibition but also take some time to explore some of York city centre.

I enjoyed York, I like the way the city retains some of its history and the way some buildings speak their own character. There are maps doted around the place that points you to all the museums so that was useful as from that I found this Museum the York Art Gallery. It was here that I found an exhibtion called "Art and Music" that caught my eye.

What interested me here was the fact the the exhibition was not limited to one material but consisted of painting and ceramics. There seemed to be some shared concerns as such things as shape, line, colour and light had been utilised in some way by the artists. You could get the feeling the curator/s had chose these pieces for their relationships with one and other.

It is interesting I mention shape, line colour and light because I am sure I have mentioned those things a couple of times before, it seems to be something that keeps recurring, something that I can identify or that speaks out to me. Either way this seemed to play an important part in the exhibition, and it had a way of fixating my eye on certain parts of the piece to which I would then have to step back to see it as a whole. Perhaps what I like about this type of work is the playfulness and its juxtapositions of shape and colour, perhaps it's the way it lets my mind run free and lets me make of it what I want to make of it and so therefore I bring in my own associations to it. However one association that douse spring to mind is the built environment and I gess that is because of the geometry used and the individual elements that become suggestive. Or perhaps I only think in this way because the built environment is one current interest of mine and so is it my brain that establishes connections to this?

I did not have a long time to view the exhibition and I did not spend too much time reading the articles. Actually recently I found reading to much into a work can detract me from the actual experience and my own judgements.

10 November 2012

53 Degrees North, York (8 Sep-27 Oct 2012)

When applying for exhibitions you never really quite know if the work will get chosen to exhibit, but when work does get selected it is very rewording. For this exhibition there were awards givern out but unfortunately on this occasion I was not selected. Although it is a little bit sad to here it douse give me strength to keep going and do my best.

It is always interesting seeing the work in different environments and this was especially the case here for the 53 Degrees North exhibition in York. York is quite far away from were I am currently based in Cardiff so I packed my work up and had it sent to their venue and the owners of the galley were very kind as they helped me to display the work and I left it up to them to decide were they wanted to place it. 

It was a surprise then when I managed to find some time to come to York and see the work for my self as I discovered that they had placed it next to someone's painting. This was very interesting as I have never had my ceramic work placed next to paintings before and I felt this worked quite well as it created relationships between my work and the painting behind it. It was as though the eye was forced to look at both works simultaneously. Therefore it seemed to reaffirm that my work does share some kind of connection to painting, I gess it is because of the colours used as there very vibrant and I suppose the colour and the forms harness each other to create something that is quite surreal.

I will keep this display method in mind, who knows if something like this could be used again and it also makes me re-consider now the importance of my own developing paintings and its its potential influence on the ceramic work now and in the future.