Artist Mark Dion, Honorary Fellow of Falmouth University, has a new show opening this week at Whitechapel Gallery, London. From the Whitechapel’s website:
Explorer, collector, activist and conjuror of theatrical environments American artist Mark Dion (b.1961) has travelled through rainforests and rubbish dumps to reveal the wonder and fragility of life on earth. Dion uses specimens – natural and manmade – to make uncanny representations of these environments. His drawings, sculptures and installations draw on the techniques of scientific enquiry and museum display; and on the telling of natural histories.
We embark on a journey through a sequence of installations created between 2000 and the present. The exhibition begins with The Library for the Birds of London (2018), a new commission continuing a series of aviaries Dion has created since 1993. The roomy sanctuary is a temporary home to 22 zebra finches, which are well-known for being social creatures. Visitors are invited into the aviary, which has an apple tree at its centre, referencing the tree of life. Over 600 books devoted to ornithology, environmentalism, literature and the natural sciences surround the birds. A scholar’s study invites us to unravel intricate drawings and models; while the Bureau for the Centre of the Study for Surrealism and its Legacy displays the strange magic of obsolete things. The muddy banks of the Thames have also yielded their treasures for poetic display in a gigantic cabinet; while The Wonder Workshop displays the ghosts of animals and instruments, many of them extinct and obsolescent. Each immersive environment is also a habitat, evoking the characters that observe, conserve or exploit the natural world.
Theatre of the Natural World opens on 14 February, until 13 May 2018.
Falmouth School of Art is very pleased to be contributing to the funding of The Thrown Gauntlet Festival of mixed arts which takes place in Falmouth this weekend from the 26 – 28 January 2018. Produced and directed by a team of over 30, most of whom are students at Falmouth University, the second year of the festival promises to be even bigger than 2017. The festival will include work from over 30 visual artists and will host 35 performances over the weekend including past and present Falmouth University students, local Falmouth artists, as well as work from the wider Cornish art community.
Amos Jacob, Festival Director, tells us more, “It is a festival that constitutes a celebration and a challenge. A celebration of artistic creativity and a challenge to how we use our public and private spaces. Our vision is to bring exceptional artistry into places where artistic expression is not usually experienced. We passionately celebrate artistic merit in a multi-disciplinary environment and we take pride in exploring the social context of art.”
Work shown will include a mixture of painting, photography, installation and film, with performances across the mediums of dance, performance art, theatre, poetry and music. The works selected were submitted to an open application process and were curated to represent artistic expressions from a diverse range of individuals and groups.
The exhibition venues are the artists’ homes, and homes that have been volunteered, as well as public parks and local pubs. Amos continues, “this domestic setting challenges notions of public and private in the aim of provoking thought and discourse into the role of expression in civility”. The festival hopes to engage people in their community, and hopes that the presence of the unusual festival will encourage conversations among the residents in Falmouth and the surrounding county.
The festival is based on a number of streets around the Smithick area of Falmouth, but all attendees will be required to first go to the festival hub located at The Jacobs Ladder Inn, 1-2 Chapel Terrace, Falmouth TR11 3BQ where you will receive your wristband, timetable and map.
Beth Garnett, alumna of MA Illustration: Authorial Practice, is currently showing a collage – From the Headland at Mawnan I – as part of Falmouth Art Gallery’s Imagine Falmouth exhibition until this Saturday. The piece was produced during Beth’s participation in Falmouth School of Art’s Observational Drawing Intensive last July.
After the success of Falmouth Art Gallery’s inaugural submissions show last year, ‘Imagine Falmouth’ has grown in scale, and is now a bi-annual exhibition and arts prize. The gallery invite emerging and established artists from across the county to submit their work. With no theme and no restriction on medium, the exhibition has reflected the very best of Cornish art today. The exhibition, which opened in November, closes on Saturday 20 January.
Falmouth School of Art Intensives offer a selection of 5-day courses for artists and art educators, all taking place in the studios and grounds of Falmouth Campus, and the surrounding area. Of her experience at last summer’s Intensive, Beth says, ‘The course was a really great timeout from real life to get back to drawing again, in beautiful surroundings. The tutors were supportive and offered really practical advice. The group size wasn’t too big and we had a lot of fun. I was able to find new directions for my work and new ideas for my process which has really refreshed my practice. I’m am sure will continue to impact on my drawing work for a long time to come’.
for 2018, Falmouth School of Art will run three Intensives; in Drawing, Abstract Painting and The Figure. Course descriptors will soon be available online, at www.falmouth.ac.uk/fsaintensives, where you can also find images from previous intensives, terms and conditions and a short application form.
Abbie Hunt, graduate of BA(Hons) Fine Art and recipient of a 2017 Venice Fellowship, funded by the British Council and Falmouth School of Art, reflects on her experience of one month living in Venice as part of the British Council’s Research Stewardship Programme at the 57th Biennale Arte…
‘I don’t think I knew what to expect until my first day on the job, but that was the exciting part. Stewarding is hard work; I never anticipated the endurance of standing in a corner of a room, observing the visitors, observing the work. It’s mentally draining to be with your thoughts for so long. I’m the kind of person who doesn’t stop, so for my job role to suddenly be so stationary was a shock.
Furthermore, I never realised how little the ideas surrounding art fell away when you become a Steward. You spend such an unnatural amount time with a piece of work that you have phrases of being grossly interested and unexpectedly numb towards it. I spent lull periods scribbling personal observations down, but when it came to discussing the artwork with a visitor, it was as if I was reciting a script. People wanted a 3-minute summary of the work before they moved onto the next pavilion, there was no time for contemplation and it was strange to be so detached.
Entwining my research project with my stewarding duties made my experience so insightful. I focused on observing visitors’ reactions and opinions surrounding Phyllida Barlow’s Folly. I was already well versed in Barlow’s career, therefore the experience contributed to my work as a form of practical research.
What I gained from the Venice Fellowship was an intense period of learning about myself. I have never traveled alone before and it completely changed my perspective on how I acted. I didn’t feel like a tourist but neither a local, and it was strange limbo I endured whilst discovering things about me as a person that I have never noticed before. It was an emotional roller-coaster, but I think I’ve gained a greater understanding of who I am.
Overall, I think I gained confidence and independence. Talking to strangers on a daily basis and having the knowledge to pass on to others was a good feeling because I’ve never had the opportunity to do so before. Giving people an insight or starting point to lead them through the maze of art within the Biennale was satisfying. I’d see their face light up with understanding and know I’d made a difference to their experience.
Similarly, confidence fed into my research project. It was an opportunity to collate research and write about my findings without the baring of education. Research is a guilty pleasure and it was strange to realise I still had the motivation to learn without the bounds of getting a grade at the end of it.
The biennale has a hub of social activity on throughout the time it is open; other countries create events so stewards can mingle, and are very appreciative when you make the effort to join in. Reflecting on the experience would be incomplete without mentioning my extended family of my October Fellows. Our intense company definitely kept us all going and I honestly wouldn’t have been able to get through my experience without them. We’ve already met in London since being home before Christmas. Our unexpected bond of being in the same bizarre situation has gave us all such a strong friendship.
Of course the art was memorable; I’ve never been so immersed in an abundance of artwork to observe and it definitely made me speechless on many occasions. My favourite was the Intuition Exhibition at the Palazzo Fortuny. I also felt we were the luckiest of months out of the Fellowship scheme as I actually got to meet Phyllida Barlow herself! It was a huge moment for me. Just days before we were set to go back to reality, Barlow visited the Biennale with her family and hadn’t seen her own work since the opening in May. I fangirled hard and was pretty star struck. You read so much about an artist, they inspire your practice and you empathise with their work…I thought spending time with her sculptures was gratification enough but seeing her next to them in the flesh was the cherry on the top. It’s a moment I’ll never forget and just seemed like the perfect present, a personal nod to keep going after three years of my degree.
From my experience as a steward, I’ve realised that the public face of the artwork is not who I want to be; but the gallery still remains my focus. I am ideally looking towards a technical position within a gallery, since the install and de-install of Phyllida Barlow’s work was a continuous consideration. Being hands-on and retaining that essence of practice is my ideal route.’
Keiken, a collective of artists comprised of alumni from Falmouth School of Art, co-founded by Tanya Cruz, Hana Omori and Isabel Ramos, have enjoyed success since graduation and regularly provide opportunities for recent graduates and current students to collaborate with them. Autumn and winter 2017 saw Keiken engaged in projects around the UK…
Keiken’s performance and installation piece, Silicone_Animism | The Birth of Mother Digital, was presented at Clinic //2 at the Oxo Tower, London, as part of a group show for the London Design Festival. The piece included the collective’s virtual reality film @MotherDigital (Tanya Cruz, Hana Omori, Jess Pemberton, Isabel Ramos, video design by Keiken’s George Stone and sound by Oak Matthias), alongside durational performance accompanied by live sound; a truly visceral atmosphere was created by 700ok (current Falmouth School of Art students Jasper Golding, Auguste Oldham and Zac Pomphrey) using generative code, in conjunction with sound artist Nati Cerutti.
Performers occupied the installation wearing costumes designed by recent graduate, Nine Derricott. Clad in silicone pregnancy bellies and PVC and reflective 3M garments, performers, in reference to the revolution of AI, explored innate feelings of connection usually associated with mother and child, in a world where the human is intertwined with the digital. Current BA(Hons) Fine Art student Alberta Shearing wrote the score and with another student Haruka Fukao performed extraordinarily alongside other performers, Nine Derricott, Kat Cashman, Sian Fan, Monty Fitzgerald, Si Garner, Sam Hall, Coral Knights, Beth Mellet and Julia Mallaby. In November, the film @MotherDigital was transmitted into space by Jon Pettigrew as part of Planet3artnews.
A group show curated by Drive-Thru at Lewisham Arthouse featured an adaptation of Silicone_Animism | The Birth of Mother Digital, as part of ‘Disturbed, Hacked, Reassembled’, an event which explored how artists are employing technology to stage, interrogate and celebrate the digital female body. Keiken’s interactive installation, again with sound designed by 700ok, used VR, video and sound to trace the birth of the digital; a giant networked space fused with human interaction and technology.
The installation, representative of an office environment, featured a pregnant woman working in Silicon Valley, who has
relationships with the office furniture in an allegory of Late Capitalism and animism (video design Keiken and George Stone, sound by Nati Cerutti). This adaptation was re-exhibited by Keiken as part of ‘Hervisions’ at Second Home, London.
In other recent projects, Keiken performed in Every Artist Remembered (2017) by Agatha Gothe-Snape at Frieze Art Fair, London; in November they led a performative workshop for Goldsmith University’s BSc Digital Arts Computing, and in a return to Falmouth, they performed at FOMO, the first Falmouth Art Publishing Fair.
In January 2018, Keiken will be hosting a workshop and event under keiken° mind u as part of Vorspiel transmediale, Berlin.
The first year BA(Hons) Drawing students transformed their studio to create a pop up exhibition, curated by John Howard, Associate Lecturer. The exhibition was held in the drawing studios and featured over 100 drawings from the students’ first term of work and covered a wide range of subjects and artistic techniques.
The students worked together to prepare the space for the exhibition. First year student Maria Meekings felt that this process shifted the collective vision from viewing their work as practice pieces, to viewing the pieces in their own right and she was excited to get feedback on her work. “Being able to present work to fellow practitioners and the wider public is gratifying in that it helps you understand that as an artist you are part of a community and that your work exists in a context of both other pieces of art and as something which others can take pleasure or interest in, and not merely as art for its own sake.”
The exhibition also prompted discussion among the students about what they had learnt during this first term of immersion, their response to each-others’ pieces and the aspects of the course that they had most enjoyed so far. Maria says “Being able to explore a variety of techniques and viewpoints has been quite fascinating and useful I feel to understand myself as an artist and the work I want to produce. I think that the understanding in many ways is just as important as the work I’ve produced, if not more, as that is part of my future while each piece finished is automatically assigned to my past.
Reflecting on the process of drawing, Senior Lecturer Peter Skerrett considers that it can be a very introspective activity. “Having the opportunity to share this practice with a wider audience enables the students to see their work from a critical distance, almost like encountering it for the first time. This increases their ability to understand their own and their colleagues work from a more critical and reflective viewpoint.”
Isolde Pullum, Course Coordinator for BA(Hons) Drawing, was impressed with the students’ professional manner and the way in which they worked together to put the show up in a very short space of time. She was also delighted with the quality of the drawings produced so early in the course, during which time they have created work on location during study visits to Tresco on the Isles of Scilly, The National Trust’s Trelissick, Trebah Garden and Paradise Park wildlife sanctuary. They also visited ShelterBox in Truro to prepare for an upcoming project for next term.
There will be more opportunities for the students to develop their professional practice and to exhibit their work, as future exhibitions are planned for the Fox Café on the Falmouth Campus.
An Hour to Sing – A Journey of Following by Kym Martindale and Caroline Blythe, is a collaboration featuring drawing and writing, published in Edition Three of Elementum Journal.
Caroline Blythe, a recent BA(Hons) Drawing graduate of Falmouth School of Art, and Dr. Kym Martindale, Senior Lecturer in Falmouth’s School of Writing and Journalism have, over the last three years, been collaborating on a project that has sought to explore and respond to Edward Thomas’s In Pursuit of Spring, an account of a bicycle ride from Guildford to Somerset in 1913.
Between 2012 and 2017, poet and cyclist Kym Martindale began the pursuit of Edward Thomas, riding and writing parts of Thomas’s journey from Winchester to the Quantocks in Somerset. In 2014, Caroline Blythe joined in, equipped with OS maps, and a copy of In Pursuit of Spring, and set off to explore and discover the landscape and locations described in poetry and prose by Martindale and Thomas.
For practical reasons both Kym and Caroline split Thomas’ journey into three distinct areas, visiting these when time allowed, following Thomas on bicycle, foot and at times by car. They recorded snippets of time and place – observing and notating the landscape as they travelled. The result is a collection of poems by Dr Kym Martindale and drawings by Caroline Blythe recently published in Edition Three of Elementum Journal.
We talked with Caroline and Kym to find out more…
Caroline says, “It has been an absolute pleasure to discover and explore both the countryside in the south of England, described so beautifully by Edward Thomas, and also respond to and work with Kym’s wonderful poems, while at the same time recording my own visual observations. As I travelled through the locations described by Edward Thomas and Kym, capturing fleeting moments in sketchbooks, I kept thanking them for introducing me to these beautiful and interesting places. It was a privilege to experience the landscape through their eyes as well as observe for myself. It was a fascinating process. Perhaps the most exciting visual outcomes from this project evolved through this collaborative working process which led to the creation and compiling of palimpsests – an interleaving of tracings of drawings.”
Kym adds, “This research project combined two great passions of mine, poetry and cycling. In Pursuit of Spring describes a landscape on the brink of change, but it is the cradle too of so much of Thomas’s poetry, and an index to the man himself. The poems and drawings are ‘re/tracings’ of journeys made by Thomas, then myself, then Caroline, through a landscape that is constantly changing economically, politically, and aesthetically. And about halfway through the project, we suddenly realised that although we each travelled alone, we were also together in the journey we were making. I am sorry in some measure, that we have arrived.”
Elementum, founded by Falmouth MA graduate Jay Armstrong, is a biannual publication of new writing and visual arts that explores the natural world and our role within it. Through folklore, literature, poetry, science and specially commissioned art and photography, Elementum quietly brings the reader back to what really matters by nurturing our connection to the natural world and the myths that surround it. The theme of the third edition is ‘roots’ and explores our origins and what sustains us.