I saw Dialogical Abrasion by Yves Netzhammer at the Liverpool Biennial last year. It was probably one of my favourite pieces from the whole festival. I know it was last year and I probably should have blogged about it earlier but there you go.
The piece was a site-specific sculptural installation. It felt almost labyrinth like, unnerving and unsettling. Familiar objects suddenly became unfamiliar and strange. The immersive atmosphere completely overwhelming my senses…
If you ever have a chance to experience his work, you should!
In an effort to garner some inspiration for a series of prints (that will also be transferred onto t-shirts) I’ve been mooching through one of my favourite books; Collage: Assembling Contemporary Art.
It’s a great book for anyone interested in Contemporary Art and Collage, so check it out if you can.
It’s got plenty of artists and examples of their work, but I’d totally forgotten about an artist who was a massive inspiration for my practice when I was at uni. THOMAS DEMAND creates highly technical and elaborate architectural locations and interior structures – using just paper and card. Often creating the illusion of reality, (since his work is made, photographed and then destroyed) meaning the viewer can only see each piece as a photograph.
There is a juxtaposition of mundanity and the uncanny which creates an unsettled reading of the image. The 3D model/structure becomes flat, a plane, an image of a place that was built intentionally to be seen in 2D. It is this denial that makes the viewer aware of a ‘set’; the photograph offers the viewer an answer to what they see as an ‘uncertain reality’, allowing them into the image and a chance to pull apart the illusion.
By Richard Wilson. “The most daring piece of public art ever commissioned in the UK” – www.biennial.com
Why can’t every city have something like this? Go and have a look if you’re around in Liverpool, it’s well worth it.
A short while ago (ages ago in fact) I took exhibited work at PRISM, in Sheffield.
I like to think of Prism as a nomadic event, it has no base, no home. Travelling around Sheffield it gives participants a good chance to play with their surroundings and make use of unusual/alternative exhibition spaces. Yet at the same time it does have structure. Even though the place/space it is held in may differ, something about the event/night seems strangely familiar. There is always a fleeting sense surrounding Prism; each event only lasts for one night. A collectiveness and at the same time disparateness, a strength and a fragility.
With this in mind I presented a projected image. The image was from my previous piece BRACE.
Let me know what you think, cheers!
Just a quick post to highlight a great blog!
I was made aware thanks to my good pal Sarah Smizz.
We’re hatching a plan for city wide domination! Not really, but we are pulling together a great proposal for an exhibition that will *hopefully* be in Manchester. If not, probably Sheffield. We’re very excited!
Particularly his older pieces – architectural paintings of small homes in mostly nocturnal landscapes. His more recent work is concentrated on form and composition rather than feelings/mood.
I love that De Graaf explores the idea of psychogeography of the home in a 2D format rather than 3D/installation.
The excellent Blog Gallery in Sheffield has commissioned me for their Billboards Project. A couple of artists each year have free reign over what is shown on the boards. I’m excited to be a part of this quirky and exciting project and send out my thanks to Bloc for the opportunity and appreciation of my work.
Bloc Billboard is situated on Eyre Lane outside the gallery and is used by artists as an experimental public exhibition space. The exhibition will be up until November, so if you get chance, pop down and have a look.