Siôn Parkinson

I can't wait to see Siôn Parkinson at the ICA when I finally get round to going to see the Bloomberg New Contemporaries 2010 show which I sadly failed to see at Liverpool Biennial, she uses banal objects so playfully. 

Harry Woud, Van Der

You Make My Eyes Water

Teresa A Mills was an accidental find, but nevertheless an enjoyable one. Her work has a slightly surreal vibe to it, if not a comical one; I think I enjoy this moreso due to its subtlety, a slight alteration on a domesticated object we are so familiar with.


Keyboard Cemetary

Paul Chan 'Keyboard Cemetery'
This is a direct reference to Alternumerics (apparently) which "explores the relationship between language  and interactivity by transforming the simple computer font into an art form that explores the fissure between what we write and what we mean."
So basically, Alternumerics transforms any computer connected to a regular printer into an interactive artmaking installation.

Clever, huh?

Alex Pearl

Untitled (song) from Alex Pearl on Vimeo.

Estelle Woolley

Painted Talons

Ruth Geldard adds a touch of feminine sensibility to the handling of her subjects, while exploring the materiality of the object itself.


Bouke De Vries

                                                                     SHUT UP POPE


Minstrel Mickey


This is a 1930's  Mickey Mouse skit which contains racist and antisemitic "undertones", the first Disney film to contribute and reinforce a child's early formation of race, gender and ethnic stereotypes basically.


One Dollar Bill/George/Liz

This was basically a Photoshop blunder. I originally intended to replace old George Washington entirely with a picture of the unusually cheerful Lizzy the 2nd, however my skills do not extend that far and I ended up with the much preferred ephemeral, slightly demonic, covert layer of the Queen with a devilish smile on her face, slowly but surely becoming more evident the longer you look at it.

Edible 4th Plinth

Brian Griffiths

The Battenburg cake, its distinctive chequered markings pays homage to the Victorian era when it was invented on the advent of the marriage of Queen Victoria’s granddaughter to Prince Louis of Battenberg in 1884, Griffiths marks this a “a link with the British past which has slowly crumbled” (A clever play on words there)

He has increased the cake to giant proportions, fashioned out of brick, sitting high above the plinth amongst the three other Victorian monuments which grace the square; it brings to light the role of capitalism in today’s view of contemporary art, where our encounters become only consumer experiences and not simply a perception of culture.

Coral Reef

Coral Reef
Mike Nelson’s disturbing architectural installation did not welcome me immediately with good intention. Initially I felt like I was walking the set of a horror movie, before slowly turning into a habituated space the longer I ventured round, losing myself in this labyrinth of masochistic territory. The unnerving feeling you have on entering, since you have essentially been plunged into this maze of nothing but squalidness: dirty windows, trucker’s props, terrorist calls. You become self-reliant on finding your way to the exit, careful of coming into contact with almost everything, trying to redirect yourself through Nelson's apocalyptic imagination. The confusion eventually settles in, and one becomes accustomed to the eerie resonance of the space.


Mike Kelley

What's E.T short for?
Cause he's got no legs.

Korean Flamingo

Jens Haaning and Superflex collaborated for the 6th Gwangji Biennale to produce Korean Flamingo. They organised the transfer of five flamingos from Seoul Grand Park Zoo in South Korea to Odense Zoo in Denmark where the flamingos will live amongst the flock and the Danish Zoo.


                      Flooded Mcdonald's - Superflex from The Propeller Group on Vimeo.



"Oh, don't speak about Elvis. Wasn't he wonderful?
I never became a fan until after he was dead.
Otherwise I would have been a stalker."


Antonia Tibble

Marie Antoinette #4
Antonia Tibble questions ideals of femininity and beauty, wittily appropriating past aesthetics; for example here she examines the French Dauphine Marie Antoinette, delicately made-up, finished with a lavish headpiece. Tibble performs the female roles herself in these brilliant reconstructions; she edits the resulting photographs and videos, existing as both artist and subject.



C Y G N E T S - Horbury Bridge - West Yorkshire

Martin Parr for President.

Martin Parr has to be a favourite of mine. He was involved with the BBC documentary Signs of the times which takes a satirical look at modern society, especially consumerism, in addition to tourism, foreign travel, family and relationships. He examines national characteristics in order to understand culture peculiarities. 

Jeff Koons Advertising

P.opular S.ky (section ish) - Ryan Trecartin - Liverpool Biennale 2010


A trip to the Liverpool Biennial back in September enlightened me to a whole new world of video in the form of Ryan Trecartin. Presented in the UK for the first time, Trill-ogy Comp (2009) comprises three works: K-CoreaINC.K (section a), Sibling Topics (section a), and P.opular S.ky (section-ish). He is at the fore-front of a new generation of artists. Manipulating video and digital media. The videos are an amalgamation of all things which revolve around consumerism, the mass-produced and most of all identity, exploring a whole other level of aesthetics.

There is a constant element of change and no single point of view. Language and form is heavily influenced by the trends of popular culture, continually changing and hard to follow. The fragmented identities characterised by friends, family and the artist himself are high-pitched and incredibly fast paced, and the notions of narrative, gender and belonging are constantly intervening.
Trill-ogoy Comp is presented as an installation between interconnected rooms beneath a former hardware store, a labyrinth of delusions. The films are edited in such a way that made me initially want to recoil; these condensed layers of visual, aural and emotionally disturbing scenes assaulted my senses, and then completely absorbed me, suddenly getting lost in this hyper-theatrical world of all things garish. Ultimately trying to draw myself away from the films caused the uneasy feelings of disorientation of being woken up in the very depths of a nonsensical dream.

P.opular S.ky (section ish) from Ryan Trecartin on Vimeo.


One Dollar - Yukinori Yanagi

This piece consists of a single US dollar bill sculpted from coloured sand cased inside plastic, transparent boxes. From the opening of the exhibition, a colony of live ants is introduced and for the duration of the exhibition they tunnel through the sand, gradually destroying the image. The tireless labour of the ants undermines the symbol of American might, power and money. When the image has virtually disappeared, the ants are set free. 




If only I owned some 3D glasses...


Sluice, Heave - Kate McGuire

Kate McGuire
"I gather, collate, re-use, layer, peel, burn, reveal, locate, question, duplicate, play and photograph"


Bad Taste?

Don Featherstone created the original, garden ornament Pink Flamingos in 1957, sculpted from the influences of the visual wonders of the National Geographic, quickly becoming an icon for kitsch. He made affordable "Bad Taste" available to the American public.

I wish I had one, but for now I'll just have to make do with my ink-stain-turned-sketch to satisfy my Avis needs.


Foam Holidays

Projection onto Expanding Foam.
I suppose it looks like dappled water but with no actual body to it.
Like the movement of the surface when you drop a penny in a pond.

1950's Bird Culture


Silk Handkerchiefs

I have only ever read snippets of Paul Haworth's "Silk Handkerchiefs" and I hope to get my hands on it as soon as the reliable student loan makes a beautiful appearance in my bank account, but it makes good reading (as far as I know anyway) earthy, male honesty.

That was a stiffy pressing hard – bloody hard –
against my pint-sized M&S chinos.
Laugh? I could cry.
Fuck me it hurt. Men can relate. When the little
fella stands to attention (no one to blame, he’s his
own boss) and he’s push-push-pushing ’gainst
insides of your trousers. I guess this weren’t such a
big deal few years back when tight weren’t in but
Stiffening, hardening, engorging, lengthening.
Tightening the tight – the impossibly tight –
and when that helmet digs into the teeth of your
flies – Tom Verlaine! – it’s torture.
But I didn’t care. Why should I? I was in love!
Love! Love! Love!
I was stood outside Gaz’s and I had just – she’d
walked past – we spoke – only briefly – but –
hoochie mama – fuck – words ain’t nothing. Know
this: I’ve seen some beauts in my time but she…
she re-wrote the rulebook.
Never felt like this before.
Love at first sight? You don’t believe it – why
should you? – and then it happens and badaboom –
shoboy – she’s the one.
I knew, I was sure of it. Stood there, jaw on’t
floor, I was a changed man. It was irrevocable. When
Marky comes out the door and growls, “Phwoar,
did you see that?”
I resented the that. She wasn’t a that, she was so
much more.
“Yes, yes,” rubbing his hands together, “she
were a bit of alright!”

Graphite Drawings

This is a six month old drawing, but it directly influences my current ideals on the basics of drawing into their simplest forms. A reaction between two materials, yet it is dependant on how you perceive their relationship, and how you merge them to form one object. Using graphite and paper, essentially pencil and paper, the typical material association with drawing. Knowing that when graphite was first sourced it was considered precious, wasting any of the powder was not optional. Using a small amount, concentrated in one area, I retained the residue from the application process using sellotape, which in itself caused the relief of the paper, taking the drawing into space, removing it from the 2D.

Comma 18 - Charlotte Moth - Bloomberg Space

Comma 18
Charlotte Moth

Bloomberg Space

Moth develops two separate works, yet they occur in sculptural dialogue with each other. I experienced Moth's work only as a slide show of photographs, ignoring the organic, fluid curtain enveloping her space. To begin with, it appeared as a tool to block out light in order to enhance the projected sequences of images. Now, it establishes a threshold into an environment for the viewer to identify with the photographed event, acting as a vertical structure predominantly consuming the space around her work as a direct message to the viewer that she presides as a single unit, away from the other work consuming the Bloomberg gallery space.
This particular event Moth has chosen from her ongoing Travelogue series consists of hundreds of balloons in an empty church hall, manipulated by a net suspended high in the air, which initially confines the balloons to the space, before eventually being released, creating various spatial configurations as they succumb to gravity.


Moth uses the edifice and the site of display to mirror the event through the viewer’s experience of seeing this slide show. The theatrical nature of the photographed space, empty of human presence, echoes the architecture of the Bloomberg Spaces’ towering atrium, which looks down onto a seemingly different world which we can observe, but simultaneously not be involved with: You, yourself, are confined to a space as the balloons were, trapped, fugitive to a material cage. They are visible images which seemingly form a pattern, yet no immediate logic can be found and one becomes fixated on the modulating photographs; absorbed in a state of flux as the event follows no apparent chronological order. They are traces of the already existing, acting as a double, yet separate from their original. They allow photography as a genre to develop as a disconnected medium from Moth’s usual sculptural interventions concerning interior and exterior spaces.

Céleste Boursier-Mougenot

So I went to this exhibition at The Curve Gallery (at the Barbican) the other day, to see Céleste Boursier-Mougenot. It makes a good day out. You should go, it's a wonderful chance to see an original interpretation of the relationship between installation and sound art. Imagine yourself in an avery full of heavy metal zebra finches... That should put it into perspective.



I looked at Reka Reisinger a fair while ago now for a project titled "Off The Ground". Of course, balloons and elevation are the first and most obvious responses to those three words. But, she has a simplistic (and effective) method of fooling an audience, a playful investigation of herself. She uses no digital manipulation, just a life size cardboard cut out of herself and a few exotic balloons. Photographing herself out in world, she has a whimsical approach to self-portraiture. These are the sorts of ideas that work the best. In my opinion anyway.


Day One.

Conceived 25/03/10, this here blog will hopefully be updated regularly with relevant news concerning interesting artistic discoveries and own interests in order to keep my head above water in this constantly changing whirlpool of activity. So basically...

A) I have a vague idea of what i'm talking about when the spanish inquisition arrives at family parties once it has been mentioned that I'm doing a Fine Art degree.

and B) So I can actually keep a record and share with the un/interested public when I experience something worthwhile. and perhaps educational. We'll see