I think I love 90% of work that relates to architecture, the built environment, installation art, urban environments, text, interventions, etc. This stuff seems to tick all the boxes… What do you think? I’d like to start using my blog as a means of generating discussion, critical or otherwise, so use the comments if you have anything you’d like to say!
I just read an amazing account of an author’s [Henry Shukman] exploration of ‘Europe’s strangest wildlife refuge, an enchanted postapocalyptic forest from which entirely new species may soon emerge.’
For anyone interested in Chernobyl, wildlife, subversive spaces, architecture, or even psycho-geography and art, this is a must read.
Find the text HERE, and let me know what your thoughts on it are.
Photo thanks to Pedro Moura Pinheiro.
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.
Last year I took part in two final shows at Unit 3b art space.
One was BOUND and the other was an Archive Show; a collection of works by artists who have been involved with 3b throughout it’s time.
I actually only made one piece of work, but it’s nature was such that it had to stay in situ for the Archive Show, after Bound had finished.
I’ve included a plan view of the exhibition to show how many people were involved and give an idea of the space. My work was a short piece of text that I carved into the wall.
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!