28.2.09

Designing Women

I'm spending a lot of time growing the design side of things at the moment, so I was well chuffed to find myself here. Although my surname isn't up to date, the weblinks are, and I like the way they showcased my work. Not sure how they found me, but how cool.

And just to throw a fly into the ointment, I'm moving this blog to a new home. Still working out all the little niggly bits but with luck, it should be up and running soon.

18.2.09

cedric christie - how cool is this?

My dream car: small, compact, and hey - a work of art! From the show, Driven, at the much missed Fieldgate Gallery (Oi! Richard and Sonia - come baaaack!) a couple of years ago. More images here.

Check out Cedric's website to see some of his fantastic work with scaffolding and snooker balls, as well as some great images from his infamous Documenta adventure and the very cool Picasso project.

This guy is busy, busy, busy. The Energiser Bunny lives - and he is Cedric.

14.2.09

seen in stoke newington

11.2.09

what you see is what you see

One of the great things about living in Hackney is that there are a lot of little artistic interventions dotted around the landscape for everyone to enjoy. It makes passing through areas that tend to be rather derelict more pleasurable and I love the fact that people have taken the time and effort to make their mark. No, no, I don't mean the usual Banksy stuff that the press and Art Magazines rave about (ok, that's nice too) but rather, the little surprises; unexpected, anonomous interventions that just appear out of nowhere, with no coffee table book to sing their praises and make their value skyrocket in the world of Art Collectors.

I think it's like zines - done for the sheer love of doing it, and long may it continue. I love that energy and self expression. Stuff like the plastic cups wedged into a chain link fence near Commercial Street that spell out a word or symbol, or a pair of larger-than-life dice in the Hoxton end of the big Old Street roundabout, or a traffic light with a smiley face embedded in the 'green' and sad face embedded in the 'red'.

And since I take the bus a lot, I see a lot of things that would perhaps otherwise escape notice. Sitting upstairs of the 243 affords one a bird's eye view, after all, so I see it as a weird sort of benefit to being skint. And recently I've noticed these little creatures appearing atop bus shelters in the area.


These little creatures make me smile - they are a quiet little voice that reaffirm what it means to make one's mark.

2.2.09

outside my window this morning

what's in a name?

Just to add a spanner into the works and confuse everyone, I have a new surname as of today. Why? Well, it's a long story and rather mundane and boring. Suffice it to say that I made the decision because I wanted to be the architect of my own identity. Which feels pretty nice, actually.

31.1.09

stepping back

I was talking with a friend today about preparing a piece of work I have in an upcoming show at Surface Gallery in Notts and it really made me stop and think. The piece, 'Luck of the Draw', is an installation that unfolded over a long period of time and sort of took on a life of its own. I've shown it once before, and it was an anxiety provoking experience when I installed the work the first time so I wanted to minimise that and be a bit more prepared this time round. As I went through it and thought about how I would put it all together again, I kept thinking, gee, if I had realised certain things whilst making the work I would have done it a lot differently, and been more organised in the choices I made.

So I was explaining this to my friend and telling him how it sort of bothered me and he said something that really stopped me in my tracks. He pointed out that an integral part of this piece of work was the fact that it had evolved over a long period of time and that that was evident in the way it was made, which he saw as really important. He called it a 'time line of the work' and pointed out that what I perceived to be a flaw was actually not one at all but rather an asset. And when I took a step back and looked at it and thought about it, I knew he was right.

The other thing he said was that, in his experience, one of the marks of a good gallery is the ability to be able to separate the artist from their work - not in the sense of division, but in the sense of getting the artist to see the work with a fresh pair of eyes. I believe he is right. When we get so close to what we are making, the work becomes a part of us and it seems impossible to step back and see it objectively. We invest so much of ourselves into what we make, after all, and rightly so. It's a lot like one's children in that respect, and it's no accident that so many of us think of our work as 'our babies' because we do actually birth the work. And as anyone who has kids can tell you, it's mighty hard to be objective about your child.

Sometimes we need others to be able to do this for us, or to at least point us towards that window to look through. It's a good thing, I think.

21.1.09

it's a new dawn, it's a new day


...and I'm feelin' gooooood.

29.12.08

thoughts on a grey day

As we approach the end of what many of us would say has been a year full of hardship, change and uncertainty - not least of all me, here's an excerpt from the current issue of tangent. I'm determined to end this horrible year on a note of rebellious hope, and celebrate the invincible spirit of artists everywhere:

Waiting for the Credit Crunch to End?
As anyone who’s recently been petrified to look at their skyrocketing overdraft can attest, the credit crunch is affecting us all, and with no end in sight. Thanks to the mismanagement of government, the banks, over the top hedge fund Fat Cats, and whoever else you might want to blame, we’re all in for a long, hard slog. Poverty Stew, Beans on Toast, the wearing of multiple jumpers, and finding yet more ways to cut spending and economise is the order of the day for the foreseeable future, for pretty much everyone.

It’s now become somewhat of a competition for people from all walks of life (even the Birkin crowd, I understand) to prove who can economise not only the most, but the most creatively. So whilst everyone else is suddenly discovering ways to stretch a quid, make their own soap, invent a thousand and one recipes for leftovers, keep warm without central heating and keep the credit wolves at bay, the good news is, as artists, most of us are experts at doing this already. Ask anyone who rents an unheated studio that leaks, has a crappy part time job that barely pays the rent and still somehow manages to produce and show work.

For starters, artists are known for ferreting out and colonising the cheapest places to live/work, eat, drink and get merry. It’s in the job description, after all. Unfortunately, those places inevitably morph, over time, into trendy hotspots that most artists can no longer afford, but the point is, we, as a profession, are there first. Artists are industrious. It’s in our nature. We know how to do this credit crunch thing, and for us, it comes quite naturally. We can make something amazing out of virtually nothing, and often do. Being natural pack rats, we are specialists in accumulating the weirdest stuff (after all, we might need it for a piece of work one day) and we certainly know how to recycle, reuse and recreate.

Artists lazy? Pie in the Sky? Gazing into space wondering what to make next? Pah! Artists are hard workers. They can, and do, regularly transform the most derelict of spaces into something quite amazing and at times, magical, through a bit of elbow grease, a lot of lateral thinking, and with very little money. They can find the most unusual objects in the most unlikely of places, and then transform them into something beautiful, thought provoking or visually engaging. And artists have an innate ability to make supplies and materials stretch until the cows come home, as well as suss out the best and most cost-effective places to get our materials. We also seem to know the cheapest way to get from Point A to Point B, and are probably fitter than most because of it, as we walk a lot (or cycle).

Artists, as a profession, are certainly not wimps when it comes to this credit crunch thing. No, my compatriots, we are qualified specialists. So, as the nights draw in and the temperature drops, and in the face of what many proclaim to be the biggest economic collapse in living history, take heart in the fact that, we, the artists, are indomitable!

19.12.08

nice one

I love this - have a look.

23.11.08

The Butcher's Shop - BAD IDEA's great idea

A few weeks back I had the pleasure of attending the launch of The Butcher’s Shop, held in the Old Operating Theatre behind London Bridge station. It was a fantastic night and one of the most entertaining and enjoyable events I've been to in a very long time.

The Butcher’s Shop is a monthly writers' workshop created by Daniel Stacey and Jack Roberts, editors of the very nicely put together BAD IDEA magazine. In their words:

"...in The Butcher's Shop BAD IDEA's editors will hack up your beloved prose and put it back together in a unique, interactive theatrical experience. Short stories submitted by guests are dissected, chopped up, and improved through an intensive process of live editing and debate. Along with an audience of 50 other writers, discuss and argue with BAD IDEA’s editors as they place your writing on a 19th century operating table – projected onto a big screen – and go to work removing inefficiencies, excising flabby adjectives and probing narrative structure, involving attendees in a dramatic ‘theatre-in-the-round’ exploration of the writing craft."

Upon arrival we were handed a very tasty Hendrick's Gin and Tonic, served in the Herb Garret. A unique experience, to say the least. Then into the operating theatre itself, (again, unique) where Daniel and Jack, appropriately dressed in bloodied butcher’s aprons, proceeded to read and edit various writers’ submissions, inviting the audience to participate in the editing process. The relaxed atmosphere encouraged plenty of banter and laughter, but the event was also informative. Interesting questions were raised in terms of the structure of writing, and I came away feeling as though I had learnt a few things, along with being entertained.

The quirky venue and theatrical approach combined to create an enjoyable and thought provoking evening, with lively discussion and audience participation throughout. Readers and writers alike will appreciate this lively event, and, it has to be said, the G&T’s are quite nice as well.

The Butcher's Shop is held on the last Thursday of each month. Space is limited so book early. The ticket price includes an open bar and gifts from Hendrick’s and Fentimans, served in the theatre's Herb Garret.

Tickets can be booked here, and if you're interested in submitting a piece of writing, you can do so by dropping an email to info@badidea.co.uk.

19.11.08

waiting

* * Issue 12 of tangent, centered on the theme of 'Waiting' is out now * *








'Waiting' features the work of Brad Downey, Z, Tim Etchells, Vlatka Horvat, Stephen Harwood, Daryl Waller and Cedric Christie.

17.10.08

it's art, baby, art!

It's a busy week for art, innit?

Sartorial celebrated its move to King's Cross with a jampacked group show (well, actually two, over two floors, and jampacked with people too) this past Wednesday. Nice space and some interesting work.

Then on to Hauser & Wirth today to see Guillermo Kuitca's show, which I loved:


















Then on to Zoo, conveniently across the street. Was good to see the likes of Form/Content and Moot Gallery represented there. Zoo has some great work on show this year, and quite a bit of international representation. Sort of felt like a Mini Frieze, but I guess that's sorta what it is. Among my picks:























Ara Dytmond, represented by Ritter Zamet






















Richard Galpin, represented by Galeria Leme


I really liked everything at ROOM, especially Katie Paterson's 'ice records' and Takahiro Iwasaki's exquisite, tiny sculptures, especially the pylon. Galleria Laurin, based in Zurich, also had some lovely work, particularly that of Stef Heidhues ( 'Madonna' is lovely) and Natalia Stachon.

Giving Frieze a miss this year though (credit crunch...) Instead, I'm off to watch the football to de-saturate a bit.

14.10.08

the future can wait

Earlier this evening went to the private view for "The Future Can Wait", a rather large group show housed in the - rather large - Old Truman Brewery in Brick Lane. Curated by Zavier Ellis and Simon Rumley, the show featured lots of painting, with a bit of installation, sculpture and video as well. My picks:

Richard Moon

Aisling Hedgecock

Gordon Cheung

Janak Odera

and a nice shot of Brick Lane at its finest, this lovely Autumn evening.

response to the credit crunch?

nothing to do with art and the author is unknown, but good, isn't it?