kimberleyelizabethresearch

[kimberleyelizabethresearch]

I can really relate to the words of Martin Creed, the impact of his work on mine is that it gives my work a place. The mundane , the overlooked and time is something that I am very interested in but have only recently learnt to channel successfully through a body of work. Researching Martin Creed and the work of artists such as Friedl Kubelka has helped me understand aspects of my work that I could not explain through words. I have always found expressing my work through words very very difficult and at times extremely demanding and tough. I feel that studying the work of Creed and attending statement writing workshops I have arrived at a point where I have learnt that honesty and being clear is a way that works for me. Stripping the work down to its bones and then building from there is the way in which I feel most comfortable to work. 

Work… this is work. This is hard work. Talking about work is work. Thinking is work. Words are work. Words are things, shapes. It’s hard to compose them, to put them in any kind of order. Words don’t add up. Numbers add up! Things are everywhere. Everything is something, everything has...

[kimberleyelizabethresearch]

This work by Martin Creed that I viewed at the Hayward was one of the most interesting I felt. Thirty-nine metronomes beating time, one at each speed is self explanitory as its title says what the work is. I feel that drawing attention to the beats makes something mundane far more interesting. What I found whilst viewing this piece was - if I stood in front of one and concentrated on it, I could pick up what sped that metronome was meeting at. If I stepped away and looked at many, they all became blurred together again. The sound was quite annoying yet very soothing once I concentrated on the single metronome beating in turn. This work is about beats and time,  time being my particular interest. A metronome marks a moment in time with a click, a moment that we do not document or record. The metronome knows of this time that will come in the future and clicks too it, something we are unable to do. 

Martin Creed

"Work No. 180 (Largo, larghetto, adagio, andante, moderato, allegro, presto, e prestissimo)

1995-2004

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love him or hate him, Martin Creed’s got a point… we’re just not sure what it is… http://bit.ly/1hRY60

Image of the Mothers installation at the Hayward Gallery London. - please see further down blog for notes. 

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Axis Web roadshow, Chapter Arts centre, Cardiff

Today I went to a Roadshow at chapter arts centre where the main event was a Statement writing workshop. 

11.30-12.30 Talks from Ffotogallery and Chapter

This talk was interesting - It was brought to my attention that Ffotogallery has more classes than exhibitions. Its work is to educate and promote photographers internationally and from Wales. 

1.30-3.30 Workshop with Tom Morton

Tom Morton has worked as a curator at the Hayward Gallery in London. His workshop was a laid back one in which we all introduced ourselves to each other and then ran through some examples of peoples statements. The statements had been offered as a gesture by the attendants of the roadshow and each one was discussed. 

Tom Morton's workshop focused on having short and snappy artist statements that really engaged ones work and did not have a lot of waffle, or did not go off on a new tangent un-nesciseraly. 

I heard some useful advice during the workshop also off a fellow welsh speaker who has not been through education, and is a self taught artist. She stressed that her experience of self promotion and writing artist statements was increasingly difficult as her language often became a barrier to communication. However she also stressed that working through the medium of welsh to understand the work somehow works with writing statements because if one can write a statement in welsh ( it is a hard language to use 'art speak' in ) then it is easily translatable in to a more understandable english. 

Another useful bit of information that I got from the workshop was to attempt to write a statement through the third person and refer to myself as kimberley. 

due to my forgetful nature I took notes throughout the day and recorded it all on a voice recorder. By documenting so thoroughly I can go back at any point to pick out bits that I was interested in or bits that might be interesting for the future. 

3.45 - Onwards. Pint and a chat in the bar. This will also give members a chance to talk about their web presence with 1-2-1's lasting 15 minutes.

I booked a 1-2-1 in advance for the roadshow as I do find it difficult to communicate as well as I would like and have found it difficult to gather a strong online presence. During the 1-2-1 I spoke about my current online presence and how I promote myself through socialising and handing out contact cards. It was brought to my attention that Twitter is an important means of online communication as it is an easy tool to reach a lot of people with one  hashtag. I am currently working on setting up this account and getting all of my work on the web to promote it. 

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Frieda Kubelka - Room nine self reflection

Frieda Kubelkas images are of a Feminist nature. I saw her photographs where she documented a whole year in portraits and immediately thought of the photos I have been taking on my Webcam. Since I bought my first computer I have been taking a lost daily portraits of myself, that have now accumulated to a decent amount. I take theses photos as they sometimes trigger memories of days, for example in some there might be someone else with me in the photos and that would remind me of that day. The photos above were taken throughout two weeks towards the end of my Dissertation completion where I was feeling the pressure and also feeling quite bored at times. 

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Guillaumbe Bijz - Auction House 

This piece by Bijz is intriguing because of its ironic twist on the way at is displayed. This installation mimics an auction house where works sell for large sums of money. They are displayed closely to each other in order to fit them all in. The works are originally put in this close environment during their production( when the artists is painting)and their sale, it is only post-sale the paintings and works gain a status of hierarchy in which they are placed in a white cube or traditional museum setting. 

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A private collection founded by Devon and Pany Dikeou of Denver, Colorado.

"As an artist, I am keenly interested in observing the way consumer society is increasingly affecting every aspect of our lives. The everyday has become a continuous challenge for the individual, who sees him/herself being unceasingly forced to re-signify and re-organize the most ordinary and common relations he/she has with the real world and, at the same time, with his/her notion of the self. A major role in this daily hecticness is played out by the media in all its different manifestations. " 

Having read Ester Partages's artist statement after writing my own reaction to her work I was surprised to learn that I had understood the work as it had meant to be interpreted. The work explores an ever growing consumer society that we live in. Her work looks at a subject that to many is mundane and requires little or no attention as it is 'normal' 

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My first response to Ester Partegas 

I came across the work of Ester Partegas in the Library at howard Gardens.It was her photos that captured my attention as they looked as if they had been vandalised and then had little notes, or conscious ideas left on the image. This particular piece is interesting. The bin is referred too as a shrine, and indeed it is. A litter bin contains things that we no longer deem as useful or has no further use to us anymore. it becomes a shrine of things on display that no body wants. Litter bins therefore are far more interesting than  we originally see on the surface as they tend to hold the leftovers of the things that we consume in such a consumer society. 

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aidan-saunders - Came to Howard Gardens as a part of a tour. He makes prints straight out of the back of his Van. Really really cool Idea and a good way to get work around and make sales. I like this idea as it makes work more accessible to people and also is a bit of fun and something people enjoy doing.  This also reminded me of a tuk-tuk that I came across in London that had a small coffee machine in the back and the lady drove around all day stopping in different places to make coffee. It made me think outside the box about printmaking, am I making it to make 'high art' or and I making it out of a passion for printmaking and therefore doing something more open to the public could be lots of fun and more rewarding. 

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Turner-prize nominee Roger Hiorns explains his blue crystal wonder, Seizure, created in a condemned London flat and watch as it is shown being re-installed in Yorkshire Sculpture Park

This just blew my mind. it does not have any direct link to my work however I was blown away by how interesting and how beautiful this installation was. 

[kimberleyelizabethresearch]

Martin Creed 12.03.14 

I went to the Hayward Gallery in London to see the Martin Creed exhibition. I followed my tutors advice after our last tutorial - I need to feed my creativity after the Dissertation hand in and felt that I could relate to Martin Creed's work. 

The exhibition was curated differently to past shows that I have been too. There was a lot of work in the space, filling almost every wall, stairwell and even the toilets. when entering the exhibition I was given a pamphlet that had a short description of some of the works. I thought that this was extremely useful as I could read a short description of the works that I could not interpret on my own. I felt that the pamphlet made the exhibition accessible to audiences that did not or had little knowledge of his work. 

Work No. 1092: Mothers was an unavoidable work that filled the entire gallery space upon entering the exhibition. It was a steel structure that held up a Mothers neon sign that spun 6ft above the gallery floor. The work spun on a motor that varied between speeds. The work represented  "the artist's vision of 'mothers spinning out of control' and, much like the archetypal matriach, it is intended to be both 'big and scary'. The piece made me feel uncomfortable as I looked up at a structure that felt as if it could spin out of control at any time. I looked up to it as if it was of a higher importance to myself, just as I look at my own mother. 

Work No.935 A sheet of paper crumpled and flattened out  was another piece that captured my imagination. It was a work that I could also see the beauty in. Paper is such an ordinary and universal material that every day it is overlooked and its qualities are often taken for granted. I thought about the crumpled marks in the paper firstly as marks of neglect. When paper is crumpled it is often thrown away, In this case it is crumpled as an experiment and the act or flattening the paper back out draws attention to its beauty. The marks are left by chance, and the new condition of the paper then gives the piece of paper a new meaning.

Work no.944, 2008 is a study of 21 different pen markers. Twenty one A4 pieces of paper are individually covered in marks by twenty one different pens. The lines all travel in horizontal lines which is visible as the ink darkens when it overlaps. There is no subject to these works as they are purely a study of a pen. The focus is mostly on the mark the pen makes and the colour of it. The only marks on the paper are those that are formed when the pen stops and starts again. The marks are darker as there is more ink in the areas where the felt tip has overlapped. 

 This work reminded me of something I use to do in my childhood where I filled a tray with pens. I would draw continuous lines studying the changes in colour as each pen bled in to the other. The works reignites memories of  being curious to try out every pen and pencil that I had, and being unhappy if I could not use every colour and every pen in a set. 

[kimberleyelizabethresearch]

Martin Creed  DVD Illuminations - The EYE

Leading up to my visit to the Haward Gallery in London I watched a Martin Creed dvd that I took out of the library. I took some notes that I felt were important and interesting to myself and my work. 

"I like 'Things' a lot" Martin Creed - He does not say much more than this about WHY  he works with the subjects that he works with. I feel like this, that there is no huge hidden meaning in what I do and why I do it. 

Work no 161 -'oh no' is a writing on impulse work. I should try this. It reminds me of how much I don't use words and I need to overcome this.

" When you make something, its always something extra in the world " - Martin Creed , I don't think I know enough about the world yet to add anything too it, therefore I am using things that already exists on the world to bring to light something that already exists but is not SEEN .

 All the sculpture in a collection Work no 128 

All the works in one place- think about giving equal importance to every piece of work to make a collection. A collection should be treated equally and not to out do another pieces importance 

[kimberleyelizabethresearch]

Im currently working on more conceptual prints, focusing more on the journey than the final print. Im leaving the composition and marks to happen by chance. The prints would look good displayed in a booklet eventually as a finished project.

Fagueret Sophie - Pareidolie (Part 1)

Livre d’artiste

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Terra Infirma 

Arron Kuiper at Modern Alchemist Gallery, Cardiff 

06.02.2014 - 14.02.2014

I went to see an exhibition at the Modern Alchemist Gallery called Terra Infirma having received an online invitation. I was unsure at first as to what exactly this was going to be, thinking that the images I could find online looked quite similar to plasticise or modelling clay. I was also quite sure that it would be impossible to use oil paint in gel to create 3D  paintings, otherwise surely it would have been done before.

However this was one of the most exciting exhibitions I have seen and I absolutely recommend for EVERYONE , to go and have a look at it in its last few days at the Gallery. The work Its very different, very interesting, mind blowing , definetly confusing  but really fun to look at and most of all the technique and the work is very inspirational and skilful. 

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This is interesting , surprising to see how much 'stuff' people have, it made me question how important material things are .

Simon Evans, Everything I Have, 2008

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Confession and time. This article made me think about ways in which i have 'confessed' in the past, and really evaluate which methods were the most successfull. it has made me think about how truthfull I am in my work. 

I have planted two time capsules. One that contains my own and my best friends confession of our crushes at 14 years of age. The other containing bits and bobs that I had collected as a child.  It has made me think if my work is as honest as the contents of those boxes.  

I still make capsules, yearly. However I have not buried any of these, instead they tightly fill a section of my wardrobe at home. I need to get these out, they are as valuable to me as my work is. They contain ephemeral items, diary entries, presents, things that I consider special enough to keep. 

[kimberleyelizabethresearch]

I recently watched a documentary on Louise Bourgeois and found this article. I have been trying to figure out where I might fit within the art 'world' and what type of art Im making. I felt that I could relate some of my ideas to Bourgeois confessional art. I plan to research in to more confessional artists tomorrow to develop my contextualisation.