Friday, November 18, 2011


Chance occurrence catching the eye and landscapes, lesions and songlines unfold. The casual and inconsequent becomes vast and monumental. 


continuing to think about different ways of drawing (as per sketchbook project), using the three dimensional object within the drawing, which seems to create a new relationship between the subject/object and the practice. a true capture, but is something lost without the slow contemplation and meditation on form? almost against the will of the drawn, it could seem like a violation of the represented, what a camera snap shot might be in quality to the careful and purposeful picture.

Wednesday, November 9, 2011


object as metaphor - continuing

continuing to investigate potential of intervention and assemblage to communicate metaphoric valency of objects, using personally associative signifiers and considering the effects of vertical/horizontal placement.

the shadows cast on the wall are sometimes gestural and sometimes architectural. I see a power station and start to think about the metaphoric potential of shadows, of fixing them directly onto the wall and then removing the original objects.

object as metaphor - beginning

slides, tape, bandage, tights, wood, cow skin

slides wrapped in tape and bandages, concealing what is held between the small glass frame. obscuring light, preventing projection, no air or interaction here. An upturned table base. Horizontal now vertical and space within the frame, containment attempted by stretch and tension. Exploring potential of objects to describe physical or psychological terrain.

Saturday, November 5, 2011


studio 'gallery'

I've painted a corner of my studio white including the floorboards for photographing and putting work into the potential context of a gallery space. Like a designated space to experiment and play around with, to step into, to isolate and see objects differently. A section of space in real time but also somehow not, a suspension in which to exercise visual thoughts. As I type a ladybird is crawling on the assemblage I was working with today.

Thursday, November 3, 2011

Gabriel Kuri

I went to see Gabriel Kuri's exhibition, Before Contingency After the Fact, at South London Gallery yesterday and came away inspired. I thought the work sat really well in the high ceilings and light of the main gallery with a sort of hessian hanging hung over the external door to the courtyard, drawing attention to these features of the space.

I was intrigued by Kuri's sculptures and the materials used. Particularly the combination of found objects, models of everyday objects blown out of ordinary scale (like matchsticks and credit cards) and purpose built, painted metal sculptures. The way in which these objects and materials were combined and juxtaposed made them visually and conceptually interesting to me and from further internet research this appears to be a theme throughout Kuri's work. The blanket placed under the blue 3/4, the condom holding up the grey monopoly wedge and old skip. Drinks cans wedged between metal sculptural segments, cigarette ends pushed into cracks and mini cosmetic testers placed atop large, sculpted, stone slabs. Like ready-made minimalism?

In the Clore Gallery polling booths with conches, enlarged cigarette chips, paper stacks... metaphors that escaped me but held my attention. The array of used soaps arranged above different shaped wooden door stops brought a smile and got the sketch book out. I had been thinking recently about using soap 'ends' myself. It felt reassuring somehow that other people see the same visual potential of certain objects even if the thinking behind the metaphor or the isolation process is different. I would like to see more.


Wednesday, November 2, 2011

Between Versailles and Las Vegas

Response to the one day project, 'making things happen', inspired by recent visit to V&A's Post Modernism exhibition. Navigating the space between Modernism and Post. Division vs continuity. One cannot exist without the other and for there to be a 'new' there must be an 'old'. The stretch of sea front between the old and the new piers in Brighton. Form vs content and the anchor to continual change. Here where the man made meets 'nature', where purpose meets co-incidence, movement, stasis, and vertical, horizontal.