ArtsCulture

Creating experience from archives: Politics in Print

artsculture — Tue, 07 Sep 2010 14:01:09 +0000

Archives are subject to fashions, says Volkhardt Muller in his journal of the Politics in Print commission for Double Elephant Print Workshop.

“Over centuries it was educated and wealthy people who created the papers trails – and in the process documented a history of their own interests and lives. In contrast poorer people appear as objects of interest. They are written about – mostly in official documents – when they become a matter of public interest,” he says.

There’s something inherently political about information. Who is doing the collecting is as important as what is being collected and the collection parameters are set within a social politcal context. But how to make head of the sea of records?

This is where the artist comes in, and the Double Elephant commissioned Politics in Print exhibition, which is set to make its way throughout Devon, released six artists in the Devon Records Office.

Volkhardt focused on recreating a girl he uncovered in the archives in his Trying to meet Matilda Brimmacombe, piece.

His journal says: “Variations of one phrase keep appearing across six months: ‘Visited Brimmacombe, a young female in solitary confinement.’

“I imagine a rather recalcitrant young woman who was not learning whatever lesson she was supposed to. The court (quarter) sessions of that period show a 15 year old Matilda Brimmacombe who stole two yards of ribbon and a bonnet from her master Mr Wood at Allhallows (Church), Goldsmith Street, a now demolished chapel on the High Street.

“This was punished with six months of hard labour with periods of solitary confinement administered in a thought-out rhythm across the prison term. My idea of the unruly girl is replaced by questions about Matilda’s character and mindset, her aspirations and the motives driving her actions.”

For Lucy Brett it was Devon’s hundred-plus and more than a dozen lost railway lines that became her inspiration for Politics in Print.

She says: “I focused my research on one particular branch line and the five stations along its route – the 1893 Primrose Line which ran from South Brent to Kingsbridge, with intermediate stations at Avonwick, Gara Bridge and Loddiswell and which closed in 1963.

“The Deposited Plans sent to government in London from 1858 onwards showed intricate geographical surveys, detailed maps and beautiful diagrams of numbered parcels of land that would need to be purchased to construct the line. I read letters such as one from the engineer on the progress of work and hold-ups due to weather and reports to the committee of the Railway Company.

“With these in mind, I then traced the 12.5 mile route of the line and walked as closely as possible along its length. I then produced a small series of prints depicting the railway’s political marking of the Devon landscape – noticing what has disappeared, what remains and what has been replaced.”

Archives can keep secrets, too and Steven Paige‘s work Redact looks at the process of redaction – the blacking out or removing of information from documents to keep sensitive information from being distributed.

In the Devon Records Office Steven looked through the catalogue under the subject title of politics and requested the relevant documents. The method of redaction was then used to reduce or apply a method of obscuration, to eliminate specifics of the facts, but also dislocate the document from its own context. The printing process was then restarted on the newly obscured interrupted surface.

Political conspiracy and intrigue was the focus of Jonathan Velardi‘s Semper Fidelis.

“In no other professional practice does division play such a feverent role within the world of politics,” he says. “With division lies the question of trust and it is with the simple action of loyalty, which has been the crux of many a low and high on the political timeline of Devon’s history, where I have found inspiration for Semper Fidelis. The motto for the City of Exeter since 1660, these Latin words of ‘Always Faithful’, rang like a mantra throughout my research at the Devon Record Office.”

Drawing parallels with modern politics, Jonathan looked to the Cato Street Conspiracy of 1820, as well as the 1868 general election, the cider tax and Exeter’s Unitary bid, Johnathan says: “Cuts, divisions and separation are all important strands in Devon’s political tapestry. From it’s division between the constituencies of North Devon and South Devon in 1832 to Exeter’s recent unitary bid from Devon County, ideas for change struggle for a majority when they go against the familiarity of the past.

“There is no doubt these events have shaped Devon’s identity and the journey around this cotton square, if a little rocky and slippery at times, represents this political web through my own narrative of Devon County’s rich and cultural history.”

Catherine Cartwright and Nicci Wonnacott began their investigation by looking at some of the letters held at Devon Records Office by Cristobel Pankhurst which led them to the story of The Three Suffragettes of Clovelly (a fishing village in North Devon), as recorded by Todd Gray in his book Remarkable Women of Devon.

In 1909 three suffragette travelled from London to Clovelly, where Prime Minister Asquith was entertaining friends at Clovelly Court to fight for Votes for Women. That Sunday morning they went to All Saints Church, dressed in the colours of the movement, green, white and purple (still the colours, see International Women’s Day). They sat in the church, waiting for their moment. Asquith’s wife saw them, and guessing them to be suffragettes passed her husband a notes to tell him of the danger lurking. At the end of the service he was whisked away out of a side door of the church. The young women, bundled out of the village, returned by foot that night (from some 10 miles away), and entered the gardens at Clovelly Court leaving ‘Votes for Women’ banners strewn across the flowering bushes in the gardens.

“We were inspired to pay Homage to their action of ‘getting up the nose of Asquith’ by visiting the church in purple, green and white dresses exactly 101 years later on May 23rd. This was not so much a reenactment but an art action to bring the event into the present moment and so remember, celebrate and connect their time with ours. As our slogan we devised the words ‘What about the women? Watch the winds of change’ as a response to the lack of contemporary women’s voices in English politics today, taking also as inspiration the words of the Fawcett Society’s Election 2010 Campaign ‘What about women?’

We worked with filmmaker Emily Keene, to create the short film of our action on 23rd May 2010. Rather than being a documentary, the film is an artwork that seeks to transport the viewer into the enchantment of the day and convey the atmosphere and magic of the action we undertook.”

The Politics in Print exhibition made its first blink-and-you’ll-miss-it appearance at the X-Centre on Saturday, Sunday, September 4 and 5 and is due to tour around Devon.

Find out more at the Double Elephant blog

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Jane Perkins – one year on (Devon Open Studios feature)

Jane Perkins — Thu, 02 Sep 2010 14:43:34 +0000

Devon Open Studios 2009 was the start of an amazing year for me. I could not possibly have anticipated the response to my work – or where it would lead.

In 2006 I graduated as a mature student and, since 2008, have been making collaged portraits from found materials. My work is accessible and fun – I have always believed that if I like my work, there will be someone else out there who will like it too. This was confirmed in summer 2009 when I was awarded the People’s Vote prize in two separate open art exhibitions.

The choice of venue for Devon Open Studios 2009 – The Cafe in Topsham – was excellent for me. Apart from bringing friends and visitors on the Devon Open Studios trail, the successful cafe is busy all year round selling wonderful coffee, delicious home-made cakes and light lunches. Passing trade through the cafe brought many unexpected visitors to my art and I was delighted to sell two large pieces. On the very first day of Open Studios, one of the chance visitors was a retired council press officer who liked my work and offered to make contact with the BBC. An appearance on Spotlight followed, and I received coverage in the local and national press. In October, I appeared on the Alan Titchmarsh chat show.

Alan Titchmarsh was lovely, but no work resulted from it! I decided to visit the Affordable Art Fair in London to look for a London gallery where my work might fit. From this, I found a gallery to represent me and they have been selling my work at the AAFs in Brussels, London and New York. Singapore will follow this November.

My work continues to evolve. Last year I was making portraits, and still make a few. This year I am making Plastic Classics, re-working old masters such as Van Gogh’s Sunflowers and Da Vinci’s Mona Lisa using found materials.

My work needs to be viewed in two ways – from a distance to make sense of the whole image, and close up to identify the materials used. The 3D nature of Van Gogh’s thickly applied paint which he squirted straight from the tube, and the thick brush strokes of Impressionist paintings, lend themselves perfectly to re-interpretation using found materials. I have made several versions of Van Gogh’s Sunflowers – each one is unique, according to the materials found at the time. (Recently I discovered that Van Gogh painted 17 different versions of his Sunflowers in varying compositions and with different coloured backgrounds.)

Re-interpreting work by previous artists is nothing new. Centuries ago, artists learned their craft by re-working the paintings of their predecessors. Picasso famously re-interpreted works by many artists, creating 44 studies of Velasquez’ Las Meninas alone, in his unique style. Da Vinci’s iconic Mona Lisa has been famously re-worked countless times by artists including Marcel Duchamp who gave her a beard.

I don’t know how my work will evolve in the future – I only know that it will evolve somehow. I have ideas for a much bigger work but need to research venues and funding!

• find out about Devon Open Studios 2010

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Young ambassadors needed for Devon Museums

artsculture — Wed, 01 Sep 2010 11:54:56 +0000

We’ve had some news in from Redfront about cultural youth ambassador roles with Devon Museums in their Count Me In project. The aim is to make Devon Museums more relevant and accessible to 16-25 year olds, and it’s for people who want to make your ideas happen through developing real projects with museums, be a positive role model to young people in your area, help spread the word, inspire others to get involved and get hands-on experience in helping to run a cultural venue.

What you will be doing
1.    Working with the museum to find new ways to make them more youth friendly
2.    Joining a panel of other youth ambassadors to oversee creative projects with four museums
3.    Learning what’s involved in running a museum
4.    Supporting the museum with new skills like using social media to promote themselves
5.    Working closely with one specific museum to develop and help manage one new project involving young people
6.    Going out into your local community, spreading the word and inspiring other young people to take part in projects/events

Redfront will ensure that appropriate support and training is provided plus you’ll get access to their dedicated Youth Ambassadors online network.

What you will get from working at the museum is practical hands on experience of running a cultural venue, business skills, working as a part of a team, learning about the history and heritage of your local area

What you will get from working with the Count Me In project
·         opportunities to explore new ways of using social media and technology platforms
·         networking and socialising opportunities
·         work experience and skills development in marketing and sales
·         enhancing your own role/work in your local community
·         exclusive access to cultural and heritage collections not publicly available
·         official recognition of your work through V50 and Vinspired National Awards
·         daily expenses allowance and exclusive invitations/free tickets to events

What skills do you need to have?
·         A reasonable level of computer literacy
·         A good understanding of social media and using the web generally
·         Ability to work as part of a team
·         Good communication skills and ability to network with other young people
·         An interest in culture and your local environment
·         An interest in working in marketing and promotion

More Information
·         They are looking for ambassadors who are aged between 18 and 25.
·         We would expect you to commit 1 – 2 days/week for 12 weeks minimum from mid September to help develop and carry out projects.
·         Please indicate whether you could travel to Barnstaple, Braunton, Dawlish, Kingsbridge, Dartmouth, Topsham, Exeter or Budleigh Salterton.

To apply send an email to devonmuseums@googlemail.com telling them why you want to be a Young Ambassador, what skills and experience you have (and which of the above locations you would be prepared to travel to).

There will be a group briefing meeting in Exeter on Thursday, September 16 and/or Thursday, September 23 – let them know if you are able to attend either date. The deadline for applications is Monday , September, 13 at 5pm. For more information visit the Devon Museums or the Redfront.

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Michael Brown – creativity with a bang! (Devon Open Studios feature)

artsculture — Mon, 30 Aug 2010 16:44:35 +0000

Michael Brown is a bold artist who advisers others to take risks and hopes to ignite a discussion about the uncertain times we are living in. He’s also keen to break down the barriers between the artist and the audience, and he’s taking part in Devon Open Studios. We caught up with him to find out more about his work

You’ve lived in the mountains of Real de Catorce, Mexico and on the shores of Lake Atitlán, Guatemala, and now in the woodland of Dartmoor. How has your environment affected your work?
This is a familiar question for me and the simple answer is I’m not aware of how my environment effects my work. I have painted on industrial estates and now in beautiful Dartmoor National Park and I can’t see any direct influence that I can recognise on my canvas.

However, I am painting in purely abstract and there is nothing to recognise anyhow. What seemed to have amazed me in practice is the consistency of the creative process. Whether feeling good or bad, industrial estate Wimbledon or the beautiful Dartmoor National Park, where I currently paint, I found the same process can be accessed. But taking this idea further, my practice is trying to find a way out of merely attempting to give an impression of my environment and its effects. Moreso in the act of painting I attempt to unhinge myself as much as possible in the hope to give a true expression of the world I live as a whole, including as many dimensions as possible (including some that might be far away).

Put in another way, to paint a picture that is inclusive as possible in the widest possible context. It is a summary or a position taken in understanding of what I experience in this, world which evolves in time and with age. In a way it’s creativity with a bang.

You mention in your artist’s statement that you juggle intentionality with spontaneity, and that you tread ‘a fine balance between having no idea and at the same time having complete confidence’. Are there techniques or approaches that you use to ensure there’s no conscious intervention in your work?
After some years painting I have cultivated a technique that I have touched on the previous answer. I would describe this technique as the ‘no specific technique’. I’ve always believed that art should never be stylised, copied or produce to make a commodity called art. All too often a lot of work you see now is produced for the sake of making a nice painting for the artist or somebody’s pleasure or comfort. My understanding of the practice of painting is to leave all that behind. I would also add that the artist should have some kind of context in which you are producing. Living in this time and space with all its uncertainties and insanity requires some kind of response, which hopefully ignites a discussion about way things are.

Here is where I came to the idea of ‘intentionality’. Having a clear idea of what you are doing and some confidence would be helpful too.

Personally, I find a lot of what I see in the name of art lacks the boldness and courage that you see with Rothko or Bacon for example. If I was to recommend a technique, it would be try attempt to take as much risk as possible and if you end up with no idea where its heading you are going in the right direction. This is where spontaneity might play a role and then you could speak about creativity – in my experience creativity is rich with the ‘how to do what you want to do’. I have found everything I need to know in the application.

There’s something egalitarian and accessible about ‘eliminating all forms of artistic authority’. How do you find people approach your work – emotionally or intellectually?
I’m trying to make painting more accessible to us all either by way of an art which can be practiced or as something that can be easily understood. I hope to demystify the act of painting and correspond to us all in some way or another. I try to achieve this by keeping my painting as simple as possible as in giving the impression that you might feel you could do something similar. I strongly believe it is the role of an artist to bring to life what is happening on the canvas. Art should relate others who may have never even met an artist. In this sense it transforms the art world and all its authority.

To answer the question more fully, most people need a little help with my work, which just means I need to try harder to make them clearer. Like most people’s understanding to abstract they try and fish something that exists in the world, ie faces dogs and so on. My feeling is if I can hold someone’s attention for more than 20 seconds without a word the piece is a success. I hope to give an experience to the observer that I have experienced but at the same time is down to earth.

Jackson Pollock is probably the most well-known neo-impressionist, who are the other artists that fit in that description?
Joan Mitchell, Kandinsky, Rothko

What research, if any, do you do?
I research when painting. When I’m not painting I’m thinking about what happened when I was. So it’s a bit like an experiment but you never get to the final answer and thats the way i would like to keep it. Like most things in life the more you practice the better you get. No experience necessary!

What’s your favourite art work (either your own or someone else’s)?
I haven’t painted my favourite yet! I’m alright with most of what I have done and mainly take the view that is the best I can do whether I like it or not.

For more information on Michael Brown’s work, email him on ask@michaelbrownonline.info, check out his Michael Brown art website or find him on the Devon Open Studios site

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Tamar Valley artists open their doors to the public

artsculture — Fri, 27 Aug 2010 10:40:00 +0000

Fifty-four professional artists of the Tamar Valley open their doors between Saturday, August 28 and Sunday, September 5 (including Bank Holiday Monday) and invite the public into their private working space to see the art and chat about the artist’s working process and inspiration.

Drawn to the Valley artists’ group was formed by a few artists over seven years ago, in the aftermath of the Foot and Mouth Crisis. At that time, the Tamar Valley was virtually closed to visitors. Despite this, the largely self-funded group of artists is now thriving with over a hundred artist-members; feeding into the area’s creative economy by drawing visitors into the region.

Explore the slow pleasure of hidden areas of unspoilt scenery, on both Cornwall and Devon sides of the River Tamar, from Launceston in the north down to the Rame Peninsula in south-east Cornwall. Stop en route for a pasty or cream tea.

Work is for sale and you browse, with no pressure to buy, for as long as you like. Choose from painters, ceramicists, jewellers and many other skilled practitioners; check out the directory on the Drawn to the Valley website, from Saltash Waitrose, or local tourist information centres.

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Kick start your art collection at the Devon Art Fair

artsculture — Thu, 26 Aug 2010 09:48:20 +0000

An extensive list of confirmed galleries will be in Torquay in October for the inaugural Devon Art Fair, which will be the largest event of its type to be held in the South West.

Forty-four unique galleries from throughout the UK will descend on the Riviera International Conference Centre, bringing with them an eclectic mix of fine, modern and contemporary artworks of all tates and budgets for visitors to the fair to admire and purchase.

All work for sale at the fair is original and vetted by the organisers and they are confident that visitors to the fair will be impressed with the quality of the work being shown by the selected galleries and the galleries themselves and the knowledge and enthusiasm they show for their represented artists.

The fair is the perfect opportunity to start or enhance your own collection of original artworks. The diversity of work on display will appeal to a wide audience with not only paintings and sculpture on sale but also photography, glass, ceramics, drawings and hand made prints by some of the top artists in the world.

All artworks on show at the fair are available to buy and take home immediately with prices ranging from as little as £75 and rising to more than £50,000. Many of the exhibiting galleries at the fair will be offering interest free credit through the Arts Council’s Own Art scheme making buying artwork easier and more affordable than ever before.

To ensure safe transportation home the organisers will have a complimentary wrapping service on hand to professionally wrap each individual artwork sold. A service that has proved extremely popular and useful at each of their other events.

Hot food and drink will be available throughout the weekend at the fully licensed café bar and restaurant for those who wish to spend the day taking in what the fair has to offer without having to leave the venue to refuel.

• The 2010 Devon Art Fair is open to the public from Friday, October 1 to Sunday, October 3 at the Riviera International Conference Centre, located just off the seafront by Torre Abbey Meadows. Tickets for the public opening days are priced at £6.

Concessions are available at £4 and children under 16 are free if accompanied by an adult. Doors open at 11am daily.

Tickets for the charity preview evening and champagne reception which takes place on Thursday, September 30 from 6:30pm to 9:30pm are priced at £10 per person with all proceeds going to local charities.

(image: Colourbox, one of the works to be at the Devon Art Fair)

(from a press release)

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Tavistock fashion designer Eppie gets work with international fashion house

artsculture — Thu, 26 Aug 2010 08:34:57 +0000

A fashionista from Tavistock has won an internship at international fashion company Pentland, where she will work for top brands such as Ted Baker and Red or Dead.

Eppie Greenhalgh, 18, from Lifton, was presented with the award at the Plymouth College of Art end of year fashion show.

Eppie, who studied on the National Diploma in Fashion and Textiles, will spend her internship at the company’s head office in London. She told ArtsCulture: “I’m so excited about the opportunity to work with this company; making contacts, gaining invaluable experience and having the chance to work alongside top designers.”

Her collection, Undertones, was chosen by the judges for the ‘exciting use of materials and surface pattern’.

She said: “My work is very visual and vibrant and inspired by music of 70s and 80s new wave punk; it’s busy and a lot to take in, but exciting because of the use of colour. I also used plastic as a design feature.”

Eppie went to school at Launceston College and excelled in Art-based subjects. She said: “I chose Plymouth College of Art because I wanted a new experience and it offered me a more direct route into my chosen profession.”

The Pentland Group works with brands such as Berghaus, Ellesse, Lacoste, Red or Dead and Speedo and was founded in the early 1930s in Liverpool, England.

• There are still places available to study at Fashion and other subjects at Plymouth College of Art this September. Apply online now or register for the Further Education Open Day on Saturday, September 18, 10am-1pm, visit the website or telephone 01752 203434.

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Holiday Sketching call to artists from Harbour House, Kingsbridge

artsculture — Wed, 25 Aug 2010 09:36:16 +0000

Harbour House in Kingsbridge is challenging its local artists to make the most of the summer, and produce lively drawings, sketches and paintings while out and about or on holiday.

The studies, and subsequent studio works produced in response to this initial inspiration, can be submitted for an Open Art Exhibition in October.

Works must be original, not reproductions, and may be in any medium.

Harbour House Arts Co-ordinator Alison Veazey told ArtsCulture: “This is a great opportunity for artists to exhibit those lively sketchbook studies that so often stay out of sight, and we’re looking forward to seeing how those initial studies lead on to more considered painting, printmaking or sculpture.

“Our Open Art Exhibitions offer a good opportunity for new artists to take their first steps in exhibiting their work. A significant number of established local artists also continue to exhibit new work in these Open Art Exhibitions, which we run twice a year.”

Works of art are to be handed in at Harbour House on the morning of Monday, October 18, for an exhibition which runs from Friday, October 22 until Wednesday, November 10.

For full details of entry requirements check out the Harbour House site.

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Kasia Andrews is drawn to paint individuals, and it could come down to the forms in the flecks in their eye. She explains more

artsculture — Tue, 24 Aug 2010 10:17:35 +0000

Kasia Andrews celebrates difference. By focusing on details, she highlights the individual. She explains more to ArtsCulture

What is it about the face and the figure that attracts you?
I find the face and figure endlessly fascinating because every person is different.

I often notice the smallest aspect of someone’s face or body and that will make me want to paint them, it can be as simple as the way their neck looks from a certain angle or even the forms in the flecks in their eye.

Your work on disability, working with Kevin French, won at the Sue Ryder Care Art Liberating Lives exhibition. You said you wanted ‘to help dispel the uneasiness often evoked by an abnormal body by proving that ‘different’ can be as beautiful as ‘normal’.’
How successful do you think you have been, how is this is a progression of you earlier work, the diptychs of the twins for example?
I feel the paintings I did of Kevin were really successful, people have commented on the fact that his disability was not really noticeable in the paintings and this was intentional because I didn’t want the paintings to be of his disability, but of his ability to look as attractive as any other model.

So really the paintings were about looking past his disability, a thing that some people find difficult to do.

I feel my work has progressed in a number of ways since I did the twins series, but most noticeable is the development of my painting skills, I still can’t believe I only started painting in 2004!

As for my subject matter I would like to work more with the type of people who are not considered model material, I would especially like to work with people with facial disfigurement, by painting a face with a disfigurement I hope it will allow the viewer time to get over any adverse reactions and start to see the beauty that can be found in every face.

As you focus on the figure and the face, how important is the model to your work?
The model is very important in my work; they often dictate the pose I choose without even knowing it. I have often gone into the studio with a specific idea of a pose only to change it the more I get to know the person. This happened with Kevin actually, as he moved I just saw more and more striking forms, he is by far one of the best models I have ever worked with and I have plans to work with him again in the future.

You use black and white in your work. Why the preference for this style, and will you develop a colourpalate, maybe along the lines of Caravaggio?
Before starting my degree I enjoyed drawing people and loved black and white photography, so when I was asked to paint something I felt it was a natural progression to paint in black and white. I was also inspired by the early black and white paintings by Chuck Close.

I have often considered painting in colour but currently still feel I have more to learn and further to go with the black and white palette. If I were to work in colour it would certainly be in the muted colour style of Caravaggio, I have already been inspired by his use of strong directional light and intense shadow.

There’s something contemplative about paintings, can they still thrill, shock and excite while being still moments in a moving world?
Yes, I believe paintings can evoke all these emotions and many more, a good example would be the work of Francis Bacon, he managed to capture moments of raw emotion and movement that are extremely believable. The world we live in is so fast moving that some moments can almost pass us by unnoticed, paintings enable us to stop and reflect.

Find out more about Kasia Andrews on her website: www.kasiaandrews.co.uk

This is an article from our Plymouth ArtsCulture magazine, which you can read for free online, or buy your own copy to cherish and hold.

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Independent evaluator sought for Speak Up! radio project

artsculture — Tue, 24 Aug 2010 10:07:42 +0000

The Speak up! project, which encourages young people to engage with the world around them through the medium of radio, and is run by Aunehead Arts (as well as other partners) is looking for an independent evaluator.

The project involves working with groups of young people in Devon and Bolton.

Aunehead says: We’re looking for an independent evaluator who can help us take a critical look at the project during all its phases.

“We want to know about its successes and failures, its joys and sadnesses, its challenges and triumphs.”

The right candidate will be an experienced arts evaluator who understands the world of young people and the world of community radio.

The project starts in September 2010 and runs until September 2012. The right person will help us devise an evaluation strategy and then implement it, beginning in September.

The fixed freelance fee is £8000, and the application deadline is Wednesday, September 8, noon

For more information, check out the Speak Up site

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