26.3.10

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
now…now!
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.


                     

Snapshot



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.

25.3.10

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
.