Tuesday, 13 October 2015

INDUSTRY: [The Lab Project Residency] @ Kingsgate Workshops, London

The Lab Project, curated by Test Bed
Supported by Kingsgate Workshops & Camden Arts Centre
25 July - 20 August 2015
Artists: Vivienne Du, Rose Pickles and Yen-Ting Cho


A couple months ago, I was invited to take part in a residency revolving around the themes of Multisensory Perception & Synesthesia. The residency promoted an experimental ethos that would allow the artists to come to a final conclusion through a series of experimental stimuli.

Thursday, 5 March 2015

REVIEW: [Richard Serra] @ Gagosian Gallery, London

Richard Serra
Gagosian Gallery, Britannia Street, London
11 October 2014 - 4 March 2015

The Gagosian Gallery, London recently exhibited a few select works by the renowned sculptor Richard Serra, perhaps most recognisable for his large scale steel installations. This exhibition was no different as the gallery featured the following works 'Backdoor Pipeline', 'Ramble', 'Dead Load' and 'London Cross'.

As is often the case with Serra's work, the sheer scale and mass of his sculptures dominate the space as you pass through it. The presence of these enormous forms have a breathtaking exchange that is only experienced face to face. It is only with such an interaction that you truly acknowledge and embody the physical grounding of the material and scale that Serra tends to work in.

Ramble (2014) by Richard Serra. Photograph by Mike Bruce

Ramble (2014) consists of a room filled with rows of oblong shaped forms that vary in size but are generally large enough to match the average height of a visitor or tower a few inches above. This immediately creates an interesting synergy between the viewer and Serra's forms, as we are made to create an instant relationship between us and this series of sculpture. The layout of these objects feels maze-like and one is compelled to meander their way through the plane of steel blocks. The distance between the blocks in some places is just wide enough to accommodate, once again emphasising the scale of the work in direct relation to the viewer. As well as appreciating the scale of each of these forms, I often felt a desire to touch them and truly appreciate their materiality and surface. There is obviously a fascination Serra has with steel and his repeated use of this material focuses the viewer's attention on just how this material functions and presents itself.

Tuesday, 10 December 2013

REVIEW: [Thinking with the Body] by Wayne McGregor @ The Wellcome Collection

Thinking with the Body by Wayne McGregor
The Wellcome Collection
19 September - 27 October 2013

This is my recent review I wrote for the online publishing site: http://intuition-online.co.uk/article.php?id=3416

A study of mind, movement and dance, 'Thinking with the body' was the most recent exhibition presented by the Wellcome Collection in the increasing emergence of collaborative art and science practice. In recent years, artists have become ever more interdisciplinary and multi-faceted practitioners in their own right; engaging with an array of experts, scientists and consultants alike to fuel the research invested in their artworks. In this exhibition Wayne McGregor investigates aspects of perception, sensation and physical movement in relation to cognitive and social sciences, demonstrated through the art of dance itself.

The exhibition certainly addressed some really intriguing ideas around the body as a tool and vessel of physical expression. Using dance as a case study, this spontaneous and inexplicable expressive form of behaviour allows the dancer to use their body as their chosen medium. In fact using the body as an artistic medium is not purely restricted to just dancers, performance artists have been doing the same thing for years. Whilst watching the interchange between both the dancers and choreographers, you feel very much like a voyeur; looking in on a unique form of language by those who possess an obvious enriched understanding and utility of the body as an instrument. It goes beyond ordinary gesture, its flexible, sometimes exaggerated, sometimes amazingly subtle, as if they own a completely different embedded vocabulary of movements they are able to appropriate at will. Just like any other type of artist, dancing explores the endless possibilities of the chosen medium and in this respect, the limits to which the body can be used to express both emotion and narrative. Dance is certainly not just a visually spectacular practice but an innate form of expression drawn from the emotive core. As with many art forms; what appears on the surface  is only half the story, the rather more interesting art lies in the cognitive and psychological intentions driving the resulting physical catharsis.

Tuesday, 3 September 2013

INDUSTRY: Art Internships

Since starting my fine art degree, I have been on three different art internships. All of these internships have varied from each other, not only in the tasks and roles I have been involved in but also in the nature of the actual organisations themselves.

The Cutting Room, Nottingham Playhouse, Nottingham
(3+ months)
The Cutting Room comprises two graduates from the NTU fine art degree course: Jennifer Ross and Clare Harris. One of the best ways of seeking out opportunities is to utilise the contacts and networks that already exist on your course and at your university. As recent graduates still based in Nottingham, they were offering internships to students particularly on our course. Not only did I benefit from being an intern in a working art organisation but I also gained valuable advice and mentorship from people who had already done what I had.

I did a huge variety of jobs whilst I was there but some of the highlights were looking through exhibition submissions and choosing artists for forthcoming exhibitions, filming and recording interviews for a private view showreel and designing the marketing material that eventually went to print.

The Way Forward (2012) Exhibition Flyer, designed by Vivienne Du

REVIEW: [Dalston House] by Leandro Erlich @ Barbican

Dalston House by Leandro Erlich
Barbican Centre
26 June - 4 August 2013

I've always been a fan of interactive and participatory artworks and installations, and London's latest instalment Dalston House was just the type of work I love going to see. Having read about Leandro Erlich's work before, I was intrigued to experience his manipulation of visual and spatial dimensions in the flesh.

What struck me immediately was its nonchalant and honest simplicity. The first thing you see is the huge and imposing mirror, and in effect that is all there is to this illusion: the mirror. However I found myself drawn to the metal scaffolding holding the mirror up. Erlich has purposely allowed the viewer to be able to see the exposed mechanism behind the illusion. Nothing is concealed, there are no smoke and mirrors to the work's production. Every person participating in this work knows more or less how it works, how the illusion transpires and still...the magic and curiosity is still very much there. If anything, the pleasure received from the work is even more so somehow when you realise how straightforward it is in its construction.

Tuesday, 22 January 2013

tactile in texture

How do you define space?

Often I find this relentlessly perplexing. Space, to me is free, moving and fluctuating around us, it never holds any true form or dimension. I often experiment with the way in which space can be 'divided', how in which our perception of space can be manipulated through creating 'walls' within space.

What is a 'wall' and how can this represent solidness and physicality?

Because of this, I find myself drawn to materials that exist in a uncertain medium between opaqueness and transparency. There is always ambiguity, and I feel that my work should be an enquiry, a tool in which to allow people to question space in the same way. These tactile, moving, sensuous materials often allow me to play with this idea of the divide, of the barrier. Nothing is definite, nothing if finite or as simple as what you physically see. Is there such a thing as a barrier when space is constantly flowing around us. Is this actually a case of a somewhat mental barrier instead?

Reverse of Volume (2012) by Yasuaki Onishi
The Garden Document (2010) by Edith Maybin
Hero (2002) directed by Zhang YiMou

Sunday, 7 October 2012

a brush with space

Gregor Schneider

Walking in Contrapposto (1968) by Bruce Nauman

Walking in Contrapposto (1968) by Bruce Nauman