I have just received an online version of the catalogue, which accompanied the exhibition.
Three Monks – Developments
Recent development and enhancement of colour composition.
Last video modification with reversed and looped ending.
Initial video experimentation with an attempt to contextualise the piece and support its meaning with unnerving sound.
Three Monks.
Mixed media on unprimed canvas.
168 cm x 118 cm
Following a long period of working on small to medium size canvasses, I have got the confidence to approach a large-scale painterly composition. The current size amounts roughly to 4 times A1. This “space” should allow me to explore the painting matter on a much broader front and experiment with integrating a range of media and processes.
The new piece portrays three Burmese monks taking a break from their money collecting duties, while entertaining themselves with a large group of pigeons. My primary sources originate from Yangon in Myanmar. I was undertaking some visual research by recording activities in a remote market area of the city.
There were large numbers of child monks present. Most of their days are spend extorting large amounts of cash from the hard working, fearful and deeply religious market community. They are immaculately dressed in pink robes and sarongs. Simultaneously, they walk bare foot to project an image of poverty and humbleness.
However, the truth is different. They have got daily targets to fill their metals trays with a mixture of coins and bank notes to satisfy the needs and expectations of their superiors.
My creative intention is to disrupt the entrapment in the vacuum of hypnotic repetition of daily routines. This concept will be further articulated through the recording of the washing cycle using a laundrette. I am very much intrigued by the metaphorical ambiguity of the meaning of the cleansing process. It is more than just the removing of every day stains and dirt, and washing off sins and unwanted memories of the past in order to ensure cleanness and purity.
The dynamism of the composition created by the birds has got partially got lost in the process of glazing and overprinting. The screen-printed text contains a collage of remains of my notes and observations from this experience. Perhaps, I need to consider different ways of bringing it back. I have also considered some experimentation with both, my painting and the original video recording.
I have included below, a range of documentary photographs depicting the overall composition and a variety of intriguing detail.
Is it to Tate Modern and Both Serpentine Galleries
There were a range of exciting projects on display. The viewing took most of the day.
I have included several images from the visits below:
Art 23, African Art Exhibition.
The private view was very well organised and attended. I have made several exciting contacts with artists from all over the world. Some work on display was truly magical and gave an individual insight into the colours and flavours of Africa and its people.
New Inspirations.
Leandro Erlich is an internationally renowned artist from Argentina. I have just discovered two of his pieces called Laundry, 2018. They are both a part of a series of works titled
Washing Machines – The Fate of Function, 2018
The first one is an installation, which portrays six simoultanously spinning washin machines.
The second consists of four, gradually twisting, machine fronts. This makes a visual suggestion that a spinning movement of the drum affects the entire form of the machine.
Leandro Erlich, Laundry, 2018.
The other inspiration comes from a large-scale installation by Yngve Holen at Stuart Shave/ Modern Art.
This gallery won the 2015 Frieze Stand Prize.
Christie Chu comments on her work:
(Her) “striking sculpture deconstructs and recombines industrial and domestic materials. The model airplanes, washing machines, thermal imaging and honeycomb cardboard sheets present a jarring landscape that both entices and repels viewers.“
(From 15 Artists To Watch at Frieze London 2015, Christie Chu in https://news.artnet.com/market/frieze-artists-london-2015-340163)
On reflection, this reassures me that my thoughts about recording the process of washing of my art and projecting the hypnotic repetition of spinning, has potential for further development.
Finally, I have found an interesting post on Tweeter. It introduces magic to the mundane process of laundering.
Perhaps washing my art in a commercial setting will achieve the same?
Open Call: Prague
I have just made another submission of two video pieces. Art 23 seems to be very active in promoting artists through organising a number of exciting exhibitions.
A confirmation email is below.
Stories: Painting 2019
I have submitted my recent piece to a competition on Zealous
The title is:
Stories: Painting 2019
Confirmation email is below.
Presentation to the UAL
I was asked to deliver a presentation during a national training event for the UAL partner institutions.
The event is being held at Mary House conference centre in Tavistock Place, London.
My talk is concerned with sharing my experiences of delivering a brand new qualification. It will focus on the questioning of external examinations in art and design.
I am simply touched to be asked again to share my observations and expertise in this field with others.
After the event. I will post links to my presentation materials.
Laundrette.
I have used, in my experimentation, a domestic washing machine before. I employed this kind of intervention during my work on the Dialogue with Pearl Twink series.
My ideas were independently developed and had no resemblance to Steve Pippin’s projects. However, I have seen his fascinating work before and was particularly intrigued by his ‘death of the camera’ and locomotion pieces.
To understand his thinking better, I have just completed reading of his 1999 book. This has led to a range of reflections and, subsequently, interesting conclusions.
I would also like to experiment with video recording in a comercial laundrette setting. My creative intention is, however, to create a moving image of the washing cycle of my paintings using a number of large scale washing machines set in a line.
There is something special about watching a machine continuously spinning – just a perfect example of hypnotic repetition. This, coupled with a great uncertainty of what will be left from the paintings after this process is completed.
Washing and it’s metaphorical meaning is ideal in terms of making progress with my thinking and the development of new ideas.
In order to make it happen, I will need to prepare a range of new images on un-stretched materials in readiness for the performance.
Theatre of Washing – a busy Saturday morning would be an ideal time for this type of video recording. More progress planning and reflection will need to take place, before I am in a position to make my new idea to materialise.
I am hoping to record several simultaneously spinning washing machines, the loading and unloading process, the long cycle of hypnotic repetition… accidental participation of additional character (people using the facility at the same time) should increase the authenticity of this undertaking and extend on the narrative.
Ultimately, the value of my of my previous and time consuming painting will be reduced to dirty underwear. Sounds great!
https://we-make-money-not-art.com/point_blank/
Pippin, S. (1999) Laundromat – Locomotion: An Artists’ Book; London: Verlag der Kunst
Zealous Stories: Painting 2019
I have just submitted my most recent piece to another competition.
One Legged Pool Player
Mixed media on unprimed canvas
120 X 80
2019
Zoom on central detail:
The confirmation email is below:
Vicious Circle – Call for Artists.
Following my recent success with my work being selected for an exhibition at Art 23, I have submitted my new painting to the next competition.
I have just met the deadline and am nervously waiting to hear about the outcome.
The piece entered is As follows:
Title:
One Legged Pool Player
120 x 80
mixed media on unprimed canvas
2019
Artist statement:
Current research issue – Waiting: Uncertainties of Tomorrow
Through painting, printmaking, experimentation and risk taking, I try to question the idea of suspension in the vacuum of repetition. My focus is on entrapment in mundane routines, which are necessary in order to exist. My work is a vibrant and polychromatic attempt, to discuss the underlying narrative of lives of people, who I have developed a rapport with during my research expeditions.
The project is intended to be a deep, highly subjective and personal reflection on the essence and meaning of our repetitive journey through the ‘ocean’ of time, which is given to us – adventurous and bizarre travel between the boundaries of birth and death.
Through my projects I feel that I discover my inner fears, longings and re-evaluate my uncertainties. My work seems to be an attempt to explore and question by metaphorical presentation my response to the hidden truths of the world. The essence of the value of these works is in their inherent meaning and an atmosphere, which manifests itself in the dusk of the space portrayed, thus the light may appear, where the hue of colour fulfils clarity and sounds with harmonious melody.
The confirmation of my entry is below.
HYPNOTIC REPETITION 