Beatrice Brown – THE N0THING SERIES – 23 March–23 April 2017

Falmouth BA(Hons) Fine Art alumna Beatrice Brown is about to open her first solo exhibition in London. ‘THE N0THING SERIES’ is curated by James Birch and opens at Gallery 46 in Whitechapel on March 23, 2017 until 23 April. 


The works in this exhibition bear witness to inner visions that Brown has had from as early as six years old, when she transposed her inner turmoil and confusion onto seeing the ‘Fire Child’, a character that spoke to her from within the flames of a hearth. The sheer compressed power of the sculptural work is analogous to the potency of material transformation in alchemy, of the Jungian Nigredo, the black beginning – The Nothing Series.

Beatrice graduated from Fine Art in Falmouth in 2013, and was shortlisted for the Midas Award in that year, exhibiting that autumn at Millennium Gallery, St. Ives (now Anima-Mundi). Her solo exhibition features a new collection of drawings.

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Gallery 46 is a new art-space from Martin J Tickner, Sean McLusky, Martin Bell and Wai Hung Young in Whitechapel, London’s long-standing centre of radicalism and independence, has developed from the non-conformist curatorial approach they deployed at Redchurch Street’s infamous MEN Gallery.

http://gallery46.co.uk/Exhibitions/beatrice-brown-the-nothing-series/

http://beatricebrown.net

 

 

 

 

 

 

 

Installation by Fine Art graduate Sandi Carr in the Clearwell Caves, Royal Forest of Dean

Sandi Carr, 2016 graduate of BA(Hons) Fine Art at Falmouth, has installed 450 metres of cotton wick in her latest site responsive art work, which has opened at Clearwell Caves in the Royal Forest of Dean,
 Gloucestershire, where she has been undertaking a residency.

Founder of Flow Contemporary Arts, Carolyn Black, writes of the installation:

‘The forest has some fascinating places that many people consider to be merely tourist destinations. Yet some provide brilliant locations for contemporary art to be shown in, and Clearwell Caves is one of them. The exhibition by Sandi Carr that opened last night, is one worth seeing. If you take a peek at her website you will see she’s interested in visceral materials, and this new installation reflects that’.

Check out Sandi’s work here: http://sandijade.weebly.com

 

Fine Art Course Coordinator performs sell out live performance for Glasgow Film Festival

Gillian Wylde, Course Coordinator on BA(Hons) Fine Art presented a sell out live performance and lecture as part of the 13th annual Glasgow Film Festival.

The Festival featured a programme packed full of premieres, previews, unique pop-up cinema events, themed screenings, discussions, Q&As and live performance.

Taking place at the CCA: ‘Centre for Contemporary Arts venue’, Glasgow’s hub for the arts, Gillian presented ‘Will Internets Eat Brain?’ a live performance of fragments, texts, images and ideas trending in some of her recent work, followed by a discussion.

Gillian works mainly with video, performance, object and text. Central to her work is a critical engagement with new technologies, the mediated and the installed and simple interconnections of agency. Her works tend to get made in response to contexts of location and place, encounter and dialogue(s), ad-hocism, foraging and chance. Works comment on some of the social and political implications of new technology and practices, often challenging traditional ideas of the art object and means of production or productivity. ‘Material things or stuff’ in relation to the video camera, processes of appropriation and post-production are constants through most of the work – perhaps a savage smell or hairy logic.

Gillian’s work has been shown nationally and internationally including Transmodern Live Art Action Festival, Baltimore; Videotage, Hong Kong; Alytus Biennial, Lithuania; Tao Scene, Norway; Lounge Gallery, London.

Interview with BA(Hons) Fine Art alumna, Zoe Spowage – Young Artists in Conversation

Zoe Spowage graduated from BA(Hons) Fine Art at Falmouth in 2013. Born in Long Eaton, she now lives and works in Leeds; her studio is based at Assembly House. Since graduating, she has worked as a freelance scenic artist and won the Nottingham Castle Open Main Prize in 2016 and the Surface Gallery Prize Residency and Exhibition in 2017.

Zoe describes her work as ‘furnished with loose narrative, I play with the decorative motif and the female form to create scenery. I am attracted to bold and direct visual language’.

Young Artists in Conversation have featured Zoe in an interview by Yasmin Rix –http://youngartistsinconversation.co.uk/Zoe-Spowage , in which she talks about her work and working process, and her forthcoming exhibition with Rufus Newell following their month-long residency in Com Peung, Thailand.

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Get Me Bodied, from I’m in Love with Rococo Exhibition in It’s All Tropical, Leeds, 2015

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A Bleaching Madden – mural detail

Visceral – Exhibition of abstract artists co-curated by BA(Hons) Fine Art Senior Lecturer Mark Surridge

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Mark Surridge, Senior Lecturer on BA(Hons) Fine Art has co-curated a group exhibition of abstract artists with Coates and Scarry.  Selected artists include Vincent Hawkins, Jonathan Mess, Laurence Owen, Nina Royle, Matthew David-Smith with Mark also showing alongside the selected artists.  The exhibition includes a series of prints, paintings and sculptural ceramics that explore abstraction and materiality.

The Private View will take place on Thursday 09 February 6-8pm and the exhibition will then run until 25 February 2017.

Venue: 8 Duke Street, St James, London, SW1Y 6BN

Opening Times: Monday – Saturday 11.30am – 6.30pm, Sunday – 11am – 5pm

Further info from: www.coatesandscarry.com

Falmouth Fine Art Alumnus Ed Burkes selected for BEERS London Contemporary Visions

Ed Burkes, A headlight looks into the dark, but shimmers and tells you it's cool, 127x127 cm oil on canvas

Ed Burkes, A headlight looks into the dark, but shimmers and tells you it’s cool, 127×127 cm oil on canvas

2016 BA(Hons) Fine Art graduate Ed Burkes, has been selected for BEERS London Contemporary Visions.

Burkes was on of eleven artists selected from an open call of over 4000 applicants, by a panel that included Philly Adams, Senior Director of the Saatchi Gallery, and Kurt Beers, Director of BEERS London and author of 100 Painters of Tomorrow.

This is the seventh year of BEERS London, a group exhibition that has sought to identify current trends in contemporary art. The artists selected for this year’s show are described as ‘posess[ing] a strong point of view as well as an artistic practice that shows distinct promise’. Burkes himself is described by the exhibition organisers as ‘one of the UK’s most sought-after young artists.

Burkes says, ‘My work is sparked from a commonplace drawing or situation: A friend drinking coffee, a buddy pulling up his socks, a pretty girl in the fruit and veg section of Tesco express. Through the process of painting these preliminary considerations begin to wobble out of sync to a point where their distinctiveness as a primary source slips away. This Introduces the opportunity for the work to embody its own honesty where identity stands as a framework to the painting, unfixed in its dwelling as the viewers’ considerations take hold’.

His work is also currently on display at Mall Galleries, London, as a part of FBA Futures 2017 (until 20 January) and was shown at The Other Art Fair, London, as a part of the Saatchi Invest in Art programme. Burkes was also shortlisted for the 2016 Bloomberg New Contemporaries, and was the recipient of the Falmouth School of Art Purchase Prize 2016.

Ed Burkes in his studio

Ed Burkes in his studio

BEERS Contemporary Visions previews on Thursday 19 January, open 20 January – 4 March, at 1 Baldwin Street, EC1V 9NU

Writing as art practice; drawing pedagogy; illustrators and communities in crisis…

Senior Lecturers from Falmouth School of Art have been helping shape national debates and dialogues surrounding writing as art practice, drawing pedagogy and reportage illustration, through recent conferences presentations around the UK.

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Dr Neil Chapman, Senior Lecturer on BA(Hons) Fine Art was invited to present a paper and lead a workshop at the ‘Words of Art’ conference at Wimbledon College of Arts.

The conference formed part of a wider Words of Art project, seeking ‘to explore writing as art practice by considering tactile materiality, live spoken word or performative activity, site-specific writing practices and temporality’. Participants investigated ‘bridging gaps between the written form and object-oriented art practices, shifting the focus of writing from the computer screen to the studio, breaking down perceptions of barriers between writing on the one hand and art-making on the other’.

The conference gathered together invited practitioners who use written forms within their own practices and/or are involved in curating and publishing artists’ writing.

 

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2016-11-25-16-00-32Neil said, ‘It was good to be part of an event at which some students as well as staff had the opportunity to show their work. The conference was preceded by a week of writing workshops — an effective way of galvanising interest in the themes among students in the lead up to the conference.

The usual conventions of a conference were disrupted in a number of ways, with diverse forms of presentation including performance readings, sound-art and audiovisual presentation, live drawing of diagrams and presentations assembling fictional elements with historical research. The event made evident the diverse approaches to writing being practiced widely in art education and art research, adding weight to the argument that artists have something new and important to contribute to research culture in the humanities and beyond.

In forthcoming work, staff of Falmouth School of Art will develop the network of those concerned with the politics and practice of writing in art, working with colleagues at Linnaeus University in Sweden and with staff and students at UAL to develop new work and research on questions of writing and the image’.

 

Dr Joe Graham, who this year joined the BA(Hons) Drawing team at Falmouth as Lecturer, delivered a paper at the 2016 iJADE (International Journal of Art & Design Education) conference, this year themed ‘Drawing’ and held at the University of Chester. The iJADE journal is published by NSEAD (National Society for Education in Art & Design), and the conference was entirely geared around pedagogical discussion of drawing used by communities within Art & Design Education. Among the keynote speakers was Simon Betts, External Examiner to Falmouth.

ijade-thumb ijade-thumb-2016Papers spanned a wide variety of topics, demonstrating the value of Drawing to a range of disciplines far beyond art and design. Joe’s paper, titled Autonomic Drawing: Postphenomenological Drawing Research discussed his latest research from a pedagogical standpoint, describing the (phenomenological) method of variational practice as it is used within his work.

Joe demonstrated the application of the practice with the aid of nine A3 graph paper drawings, produced specifically to test this method, and explains, ‘The method of variational practice is used to seek invariant (essential) forms of understanding from within a variety of work presented for display. When used in combination with observational drawing, it renders the drawings sensible as ‘data’ i.e. results. This means the more fluid question of what drawing ‘records’ (re-presents) can be decided on an empirical basis. This outcome has useful pedagogical implications’.

 

Dr Catrin Morgan, Senior Lecturer on MA Illustration: Authorial Practice, delivered a paper at the International Illustration Symposium at Edinburgh College of Art. The conference was titled ‘Shaping the View: Understanding Landscape Through Illustration’.

Shaping the View: Understanding Landscape through Illustration

Shaping the View: Understanding Landscape through Illustration

Catrin’s paper, The Myth of Reportage Illustration, explored ideas of authenticity and mark making in reportage illustration. Her paper was grouped within the panel, ‘Landscape as metaphor’, and examined the way in which Illustrators are increasingly being hired to report on and represent communities in crisis (communities in Syria, people living in refugee camps and endangered or destabilised communities for example).

Catrin explains, ‘I am concerned with the ethical implications of aesthetic choice made by these illustrators and what it means as a creative practitioner to report back on the lives of other communities. What voice do we use to do this? How might we choose to foreground our own presence in the situation we are depicting? Are there a set of aesthetic conventions that are establishing themselves as the language of authenticity?

Being critical of and asking questions about how artists address challenges faced by communities is vital to ensuring that the role that illustrators (as creative practitioners) play in society is truly valuable and useful. I am concerned that all areas of illustrative practice are interrogated critically, particularly those that have the social and political relevance to vulnerable communities’.

Among examples Catrin discussed were Anna Cattermole, who works with communities in Cornwall, Gill Gibbon who draws at arms fairs and Olivier Kuglar and George Butler who have reported on various communities internationally.