Thursday, 30 December 2010

another A4-sized painting

After reading a borrowed book on Jonathan Miller and his ideas on accidental compositions and street-based decollage, I began to draw what I saw on the streets and in the derelict buildings that I visit.. It does look odd though, seeing a grown man stop in the middle of the street to either photograph or draw cracked pathing slabs, but I don't really beatslosing wide-eyed wonder and getting glued to the sofa.

The above painting is part of a series of practise studies for a final composition..I have used enamel paint as well as acrylics..I am thinking of using enamel for the final painting though.

Wednesday, 29 December 2010

new painting

After walking around the Fine Art section of Manchester School of Art and chatting to a few fellow [fine-artist] students, I have decided to get my paints out and do some fresh compositions. I haven't really painted for at least 9 months and thought it was time that I actually did some painterly work.

I left some ideas shelved from when I finished Foundation at least 18 months ago and they didn't really reach any final conclusions or resolutions and after doing some test which the above painting is..I will then be jogging on with the final and concluded piece.

This one here has been developed from an A5 sized oil and acrylic on board and I have painted it several colour combinations such as black and white and then green on red and back to red on green. After painting the blue on red and thinking that there should be another element added..I decided upon white. It has a very nationalistic feel about it..very Great Britain and Union Jack-like. We SHOULD really take back our flag from the rascist scumbags and begin to get proud of it like the Americans etc.. In the whole scheme of artistic history..I feel this painting is leaning towards the Jasper Johns side then the normal swayings of all. I am happy with the A4 sized article and now ready to progress onto the A1 canvas.

Sunday, 26 December 2010

diptych at Val-Hal

These are the images before mounting and framing..

These are the images in situ...

val-hal gallery

So after being asked by fellow Interactive Arts student, DW, I decided to get involved with an exhibition that was being put up within an old jewellery shop in Blackburn town centre. The shop used to be called Val-Hallah and was the place where I got both my piercings in my ears and in my nose many moons ago and thought it would be a nice but personal gesture to myself. I had also participation within the same location a few weeks back with the Bzzz gallery. The local councils of East Lancashire has got involved with a company called LET which rents out old and disused retail premises and hands them over for local creative and socially based companies..which isn't a bad idea, a sort of pop-up exhibition/gallery space. I am planning my own show be-it a solo airing or a small collective that I'll be hand-picking..a cross-discipline show based on the throwaway. That is really my focus at the moment and is something that I will talk at length at some other time.

And back to Val-Hal. This particular show is being run by a pal at Uni and somebody else who I had previously studied with on a Foundation course prior to Uni. They had already put on a show two years ago at Blackburn Pavillions and due to personal reasons, I decided not to put anything on for that. It was a good show and I went to the opening night and bought a CD by a local acoustica=electronica band, ther space was used to it's creative intentions.. And this spurned on my reasons why I wanted to get involved this time.

I had two of my Lucien Fellowes:Road-Markings photographs printed up to A3 and then got them bespoked framed at TILT in Blackburn. (I prefer to use Tilt as I have used them before and been shopping with them for most of my life. Something of a loyalty aspect I suppose, and just because I like the people who run it.) I had aluminium frames down and they look good with the juxtoposition of the subject matter. They look outstanding, if I may say so took me some time to eventually settle down to two that I wanted to show.

At the show, I found that somebody had knocked them out of place and had to re-align them. Being of an abstract/mininal and angular nature, they do have to be hung in a specific way..almost neurotically/OCD way. After doing the business, I got talking talking to a woman and basically described the concept of the photography and of the background of my all-encompassing project; Lucien. We had a good chat about the throwaway culture, the philosophy of [shit] and of the human aspect of rubbish as a organic subject.. It wasn't as weird as it reads but was a grounded conversation..I later found out she was the mother of one of the gallery owners.

In all, I have had a great response to the diptych, some really useful feedback. My old painting tutor mentioned Sean Scully as an influence and we had a chat about reductionism in art and of the critic that I am reading, Clement Greenberg. I have found out that they still use some of my assemblage within the classroom and studios as examples of work and quite pleased that some of my work is still relevent. It is an example of my work ethic.. [to do your work like it is the last thing you'll do].

Saturday, 11 December 2010

Wrap up

I had the five minute presentation with an extro ten minutes added for questions and for networking bonuses.. I didn't really have the time to make a formal presentation and just explained my thought processes and how I'm going to expand my creative practise. I sort of winged this, I think I know my art and what I want to achieve. I got a 2:1 for the half year review and had points deducted though lack of research which is something I am going to remedy.

I am on with a new project now which is similar to an older one I set out but didn't find a resolution for. I have been told that my work would look a lot better if I concentrate on enlarging the final outcomes. This is something which I find daunting because the work gets noticed a lot more and the nuances become pronounced.. This is something else I have to address.. I have been given the names of Peter Greenaway (art critic and artistis/film-maker) and Clement Greenberg so I have two books out and presently reading up on Greenaway.. I do like his work and I think it'll be a learning curve for me..

Saturday, 4 December 2010

Un-Upholstered Chair

There is an unupholstered chair in the grounds of Grosvenor Square. It has been there for several weeks and I don't think it has has any attention. I have a theory that it has been placed there strategically by some art student through some spatial awareness concept project, but I might be wrong. It IS out of place and doesn't belong [there]. I have decided to catalogue it everytime that I go past it. These photographs are three days apart,

Friday, 3 December 2010

new projects

Catalyst for new Hepworth inspired project..

So I have now got a few projects under way. They include my new painting series that I have shelved for 18 months, my socio-geographica sculpture, soon to be started site-specific (uni) project and my new Hepworth/Nicholson inspired rock piece. I have the basic design and now need to do some prep drawing and doodles in my notebook. The first thing that I DO have to get sorted is the background research and then the techniques read up on. I love Hepworth and also Moore.. I think their ost-war ethic and styles are fantastic and adore the massiveness of the task ahead..

Tuesday, 30 November 2010

First-Prize in a Photographic Competition

Last night, four of my photographs came first in a competition within a Photographic Club. They were all pointed out of ten with 8 being the highest that I achieved. My total score was 28 and only one of my weaker photographs scoring just 6. I shouldn't have placed it in the competition but I liked the image. The old adage is right in competition that you should be unemotional when entering them and only enter your strongest images...

Wednesday, 24 November 2010

Piece for Exhibition

[a piece of me has become immortal, beyond my control] 2010 | Sonny Barker
mixed media incorporating found wood, copperplate, Polaroid Photograph

This week has been a tumultuous one for me, both at work and in life. I won't delve into the life bit for now as that is periphery to what I am focusing on right now. After the Cross-Course Crit that we all had to undertake on last Thursday, I decided to shelve my latest project (to be worked on later) and start a brand new exercise that was kind of on the back-boiler of my mind for awhile.

I have a socio-geographical structural/collage sculpture that I am in the midst of designing. I am working with squared wooden tiles akin to scrabble pieces at the moment and trying to find the best compostion that I can come up with. I've tried braille but the spacings aren't aesthetic enough. This was the idea that I came up with at the CCC on Thursday. It went down well and I think it will form a large segment of my final 2011 piece. For now, I need to buy a large portion of white form-board and paint is a delicious shade of concrete grey. and then the fun will begin with the composing and the laying down of slabs. I may need help from the Architectural School on the seventh floor of the Chatham Building..need proper guidance and some backing.

The architectural work needs planning, researching and some meetings up with relevant people. I am super serious about this venture and I need to tread very carefully, it may make something out of what I may become...

The piece for the up and coming exhibtion at the Link gallery next week and the work that I have just started and finally finished this afternoon is an A2 sized Merz collage that incorporates found wood and copperplate together with a scrawled Polaroid. It is based on the concept of disassociated memory and is entitled [a piece of me has become immortal, beyond my contol]. The title may be ambitious but it took me weeks to come up with a tiltle even though I had no work to attibute it too. For me, The title usually comes first, as well as the subject matter and the finished product evolves over time.

I scrapped the last work because I felt it didn't show what I was capable of and was jusdt a little may resurface again under another guise though.

Sunday, 21 November 2010

new piece for exhibition

Eva Hesse-Hang Up 1966

Eva Hesse _ Untitled 1970

Since researching Process Art, I have come up with a 'new-to-me' artist called Eva Hesse. She finds scrap material and makes art..I need to go to the MMU library and find some books..need proper investigating. After thinking of ways on how to exhibit my work, I have found the ideal way. I want to have my collage at least four foot from the floor to creart unease and tension...
The two images above show the different ways on how to hang work in a gallery setting..


So I managed to get to the cubeOPEN 2010 exhibition, preview night. I went with two other students that expressed an interest in seeing new art on a wet Thursday night. The was wine flowing and I think that at least, picked up on my antennae. I like the CUBE though, they often have good shows on like the A.N.D exhibition last month, the odd exhibition previously when the just had an empty gallery space and the some others that I just can't remember at this present time.

Once again, there was good and not so good work on offer. The collection of hard hats with things attached to the top didn't float my boat, There were just too many of them, it kind of negated the specialness of the concept..very blue-peter. The Vase in the Wall was a neat idea and had me and a fellow visitor perplexed until we started to investigate.

My favourite piece of work was the collection of four A1 photographs of places in Blackpool. They were very engaging to say the least. You could even smell the seaside and it's various aromas..doughnut fat, diesel, rust, piss and sweat.. I'd even go as far as say that these exhibits should win the exhibition and I'd love to own one..and I know which one I want...

The elephant in the room was the huge Tatlinesque tower that had multicoloured boards attached and three television screens. This piece was a training sculpture for foxes. The TVs had a fox gradually making its way up the sculpture..Me and my friend stood transfixed, eagering the fox along. We were then approached by the two artists who made this and brought on the concept. They were pleasent enough..listening to two art students rabbiting on about 'their' work and basically have a good blether. We took some photos, exchanged pleasentries and beavered on.

I'll need to upload some photos of this event soon because they can be sometimes lost in translation.

After stalking out the winner of the previous year, Simon de Ruiz, we had a good fifteen minutes of interaction time. He explained to us his concepts, his background and his reasonings. What I found quite profound was the way he took on board whatr other artists thought of his work and they think what makes other artists that makes sense.. By being the winner of last year, he got the chance to hold a mini-exhibition and he selected work from several years witrh work he has just been doing. I wanted to find the relationship between the pieces and when I told him my thoughts, he took a few minutes and agreed..

Overall, it was a good night of art watching, mingling and wine drinking..

Thursday, 18 November 2010

new work

I read a book called Rant by Chuck Palahniuk and Liminal Time was metioned within it. I strongly recommend the book, I've read it twice and need to do read it again for my up and coming essay.
My main project is that I've designed an environmental/social collage/structure made from concrete slabs. At the moment it's just at maquette stage with wood slabs. It say [please don not touch] written in squared braille.
What I am proposing to do is to find an open/derelict site and laying out the collage/structure. I want to have some kind of opening event with a band/party/media attention [?].
The 'art' part of the piece is the gradual decline and atrophy of the structure and I'm going to try to document this with film or photography. I'm just seeking a specific site at the moment and the documenting of the location will be archived and shown within a gallery space.

Wednesday, 10 November 2010

Presentation at a local Camera Club

I have now been going to my local camera club which is situated in Blackburn now since the end of May, this year. It has been a good experience, a regular meet up with non-artie types who enjoy photography and who takes the medium seriously. I have been taken under their wing and shown tips on how to take landscape and portrait photography and took on outings around the local area and to photograph concerts.

There are regular competitions that are taken seriously and I have entered them...the next one are the Presidential Prize..[open colour] and [all things bright and beautiful]. Yes, I have entered this competition and hopefully I'll do better then the last couple.

On Monday, I was given the task to do a 20 minute presentation which I have to get right before next Monday. I have a complete different style as a lot of the guys at the club. This worries me slightly but..a bit of strangeness will charm them, I hope. The photographs I will be showing will be the Demolished Photos, my Shelter Photos, Landscape and the new project, Empty Space. I will also be showing some of the Road-Side Markings. Now, the task is to write up a convincing speech to cement what I am showing.

Tuesday, 9 November 2010

Exhibition at Bzzz Gallery

The Time In Which Nothing Happens Has It's Purpose [Diptych] | Sonny Barker 2010

After passing a disused Jewellery Shop in Blackburn town centre, I noticed a hive of activity and lo! and behold, a gallery had sprung up. It was hosted by a Bristol Fine Art Graduate, Julia Swarbrick. I didn't really know Julia but I popped in to see what was happening and had a chat about art and the art scene in general. We talked for sometime and by sheer chance I had my portfolio of photographs with me. These photographs were fresh from the printers and I had twenty prints.

I showed her my style and she quite liked them. I had the Lucien Fellowes's Road-Side Markings Collection with me and she gave me a speech on how much my work resembled Fine-Art Photography instead of Photo-Realistic Photography. I was quite happy with this definition and it kind of pigeonholed my creative outpourings. She said that the next exhibition she's having would be one focused on Blackburn and being quite self-promotional, I asked her to involve my two stronger pieces into the show and she agreed.

The ones that I selected was the two that I had on show with the FFAF10 team and as these were professionally mounted and bespoked framed, I thought they'd stand out. The only trouble is that somehow the frames got scuffed [?] and I had to get them cleaned, but the work was essential.

I went to the preview evening and talked to some of the guests about the concept and the background information that holds the diptych together. Some people blinked and moved on but some guests enjoyed the tete a tete. There was a lot of different styles in the exhibition, some realism, paintings, inks and fine art and then some photo-journalism..but they all gelled together. A kind of compendium of art styles within a small cotton town..

so, the conclusion is that I was privileged to have been part of an exhibition in my hometown. I was cheeky enough to put up a front and get my work put up and I have had some exposure. The gallery owner has sent me an email confirming her eagerness to work with me again and I hope to be part of an exhibition in the very near future.

Monday, 8 November 2010

Simon and Tom Bloor

These guys were unknown to me until 17:33 on the 8 Nov 2010. They giving a lecture at the prestigious Whitworth on Oxford Road, Manchester tomorrow. I am looking forward to this talk as I haven't been to any previous ones and this has grabbed my attention. I have been on their website and looked at their work and I an intrigued by their use of graphic design within their output.

In this post I have included to ways on how to present text within art and the neon sign is a prevailing idea that I have had for sometime now and I am hoping to work within the media in the future. I have done research into business that can achieve what I am planning both in Manchester and in Blackburn, the costing is going to be expensive so it will have to be an ongoing practise.

response to process art

Richard Serra | 2-2-1: To Dickie and Tina

John Hilliard | Camera Recording it's Own Condition

Here are two responses to the question that I ask myself, 'just what is Process Art?'. I have twice been told that my work is process driven and twice I didn't really understand what the statement meant and after a third person said the same phrase, I decided that the best thing to do is to do some research. I have only managed a little research at the moment and this means going on the Tate website (where the two images have come from) and a look on the [citation needed] site of Wikipedia...I KNOW that the Wiki site can't be trusted but for preliminary studies, it's good enough.

I have been offered several named artists, both known and unknown to me and some of the work are poles apart from each other...quite bipolar infact. I love the epic work of Richard Serra and I hope in the future that I can work on the limitless scheme that he works on, and I'm intrigued with Martin Boyce and his minimal-unmonumental way of working. Jon Hilliard's Camera (shown above) is mouselike in appearance to Serra cathedralesque installations but is so relevant to the ethos of processing artwork.

I gather, with my shortcomings of integral research, is that Process Art is Art that allows the mark making, workings, emphasis on materials, almost scientific and showing the construction of the piece that has been created. I have also been told that I'm visceral and guttural in the way that I work and I often show the constructions of the pieces that I do make. My conclusion is that I am leaning towards this art-form but I shouldn't rely too heavily on the concept.

Photography and collage, to me , is Process (Art) driven..especially film-based is all about the process of the final photography..not so much in the digital field. This IS the divide and contention between the two. And if you do step back and think about the concept of Film Photography... you select the image, get the aperture and depth correct, the lighting and then...BANG the image has been collaged onto thefilm...the process of developing and printing is then the process driven part... This is the same with collage, it's not all about glitter, crepe paper and silver stars...weights, textures, materials, composition these are all to decided and thought about.

So, yeah...process driven art works for me, it is very visual and take on many forms. Sculpture, photography, painting and collage; define and refine then construct.

marquettes for final piece | [shelter]

Here are four marquettes that I have made utilising a variety of media including wallpaper, wood, board and acrylics. I have to get some research on what I have found out that is PROCESS ART.

Thursday, 28 October 2010

The Transient Aspect of Housing

feedback sheet and my response to the work...

Today was the feedback/non-verbal presentation day and I think for me, it went as well as expected. There was some good work on offer especially from Monty, Rosa/Enya, Ryan, Runa and Felix/Emma et, al. I [liked] other work as well such as Liz's idea incorporating poetry and visuals, Dan's comfort pink noise and Marcin's sound experiment/visual. Dan's and Marcin's work got my interest because of the sound aspect and the way that they manipulated the medium.

There weas some half finished work and some rushed ideas and these were evident in the presentation and in the informal chats we all had when the task was [or was it] over. I enjoyed the social aspect of the exercise and the nosying about in the other students work, seeing their strong points and there working practises. It was very informative in that way and I must have a least a chat with one or two of the gals I don't really speak with, even though I tried today and shrugged off...

I was pleased to a degree with the responses that I got with my work because I tried another medium and another way in producing my work. I have looked up Richard Hamilton, Martin Boyce and Joseph Beuys in the research aspects of this task. I think that I should continue in this vein until I have a proper outcome. With me, I am in danger of becoming too static when things get comfortable and I need a regular shot of adredalin to stay focused. I will produced a larger collage and work towards my final piece, that will be probably take me up to the spring.

I am now going to have three projects underway...busy am I. The Lucien Fellowes Collection of Particulars is gaining momentum, albeit slightly pedestrian. It will be a slower burner to the rest of my tasks but as I have been told, 'it has legs and I should continue]. The second is the the present project [The Transient Aspects of Housing] which I have already explained and the sound collage using cut-up tapes and my 4-track.

I'd like to take this opportunity, to anyone who (if) reads this blog, thank-you for the kind words and the jesture of encouragement that is evident on my feedback sheet...

Wednesday, 27 October 2010


I've finished the maquette for the final part of the mini project called Shelter. As stated, it was supposed to be a four week affair and then that was it. I have been quite ill for the first part of the month with flu and heart problems and tried to do research and development and filled a few pages within my book. I think going to Liverpool and then the beach was a bit silly but It DID retuned my batteries and give me scope. In particular, the assorted in situ installations of certain Mexican (I think) artists who just used quirks and defects of the building on Renshaw Street and named them [enjoy yourself]... These were the inspiration that augmented my concept for the said project.

I am pleased with the outcome of my endeavours and produced a maquette that will assume will become more prevalent within the year. I can see what I have done as a large scale, Jim Dine/Kurt Schwitters esque plaquelike installation.. I know need to get certain books out of the library and read up on what is interesting me at the moment. Can't really go on blindly creating and having no intellectual backing.

Tuesday, 26 October 2010

I have a plan and I am sticking to it..[.]

We had the third year two meeting today and it was the second one that I have attended. We talked about about a lecture that I personally didn't attended concerning Public Art and Social Engineered Art. This is the kind of ArtScene that I am very much interested in and I know a few buzz words and artists such as Richard Sera and more specific, Victor Pasmore.

Pasmore is a huge influence upon my work but of course, I don't xerox him. I am taken with his collages, screen-prints and his use of minimal colour and concepts. He designed a whole council estate in the north called Peterlee, the tower blocks and the communal areas. This council still exists today and has [evolved] over time by weather, rthe public and time itself. Well, just consider it an evolutionary piece of art.

This is the concept that I am wholey excited by. I am planning on designing a range og evironmental/constructivist sculptures and placing them in various areas of the town such as a housing estate, on the moorland and somewhere secluded to test the amount of wear and tear of what environment is capable of. But of course, I digress...

The meeting threw up several points, some valid and some periphral. I took a mental note of what interested me and side-lined others and all of a sudden, the meeting took a turn into the [JOURNAL] sphere. This was interesting up to a point and then...

I have now decided on what I want to achieve for the final bit of the SHELTER pro:ject. This was only supposed to be a four week affair, cumulating to a show and tell afterwards. The good point of this excercise was that it is short-lived and at the presentation, we don't get to speak up about what we have done.

I am designing several collage based on the vision of half demolished and derelict houses. I am intrigued by the colours, wallpapers and the lives of the ex-inhabitants of this skeletal remains and I hope this shows in what I have produced...photoghraphs will arrive soon.

Monday, 25 October 2010


Well, the project was set at Uni and it was given the umbrella title of [SHELTER]. I have been reall ill during the three weeks we were given this project and I have managed to build up a concept and jot down a few ideas....

My basic premise si that we are all transistory in the world of habitation. The only constant we have is the abode that we live in. I believe we leave a mark on the house that we stay in and that eventually fades with the new inhabitants. I am intrigued by half-demolished houses that show the colours, wallpapers and quirks of the exposed rooms, I am basically going to try and recreate the exposed rooms as a large scale collage with glass, metal grids and wood..incorporating paint and wallpaper.

My other ideas include making an egg with a grown man/skeleton creeping out, sewn-up fruit and showing an Super-8 found family movie within a derelict house...but time isn't on my side..

Saturday, 23 October 2010

Liverpool Biennial

Thursday the 21st, October was the grand school outing. Had to get to the coach by 9am that was waiting at Uni and of course, I got there late, about 9.30 was the time I got there. I had to catch a train from Blackburn tho at 8am and would've got me to Manchester for 8.45 but of course, the plans of mice and men and all that... The coach took us past the giant head that stand by the motorway not unlike Warrington's own self-styled Angel Of The North. I once saw a documentary about the commission, construction and opening of this sculpture on the television over two years ago...I'd like to of gone up and seen the construct in flesh though but time is an enemy on days like these. I didn't really get a good look at it but i'm sure it's impressive though.

Getting into Liverpool took its toll. It is a city after all and we were just coming out of commuter traffic but, we were scheduled to go past the [Turning the Place Over] by Richard Wilson. I have heard and seen reports and images about this feature and not really heard of Richard Wilson so I haven't got anything to compare this work to. It is quite immense though in a understated way. One can imagine the passers-by and the office workers quickly getting used to the work and being tickled by that fact that a group of adults were gawping at the circular piece cut masonry going in and out and round and round. The cutting of the piece is very precise and continues through the workspace inside the building. It was very impressive but as the coach was parked within the city, we had to move on.

The coach dropped us all off at the Walker Art Gallery and there was an exhibition of the John Moores Painting Prize 2010 happening but as we are penciled in for the Liverpool Biennial for the day, I had to give it a miss. I am going back to Liverpool either this week or next week, so I'll give it some consideration.

I found myself outside Lime Street Station and after tidying myself up, and by this time I found that I was Lone-Wolfing it again, I quickly scanned the map and made my way to Renshaw Street where the Futurist Cinema is located and the main exhibition space that is 52 Renshaw Street. It's only a short walk, and I find Liverpool less labyrinthine than Manchester, I approached the The Futurist Cinema which is a boarded up ex picture house. It has painted on it's facade, [think about the future]which is the work of Emese Benczur. I don't know much about her work but after reading the guide to this years event, I plan to do some amount of research on her work. I gather that she is concerned with time and self, but I may be wrong. I took a Polaroid of this cinema and I will upload it onto here when time permits.

new collage

Tuesday, 19 October 2010

no new posts due to apathy and illness

So, I've been on holiday quite a few times and took some photographs with the good ole [bridge] SLR, Polaroid Land camera (SX-70) and the brand new but now battered Polaroid 300. It's a bit strange really, the conditions and events that has guided me through the summer. Experimentations, strange coincidences and weird strokes of good fortune have all been ingredients of my experiences.

The holidays recharged both my internal, mental and creative batteries, my health is on the mend with the addition of more fruit, less cabs and alot less booze and I have been part of three Art exhibitions which I think were successful. I spent too much money on certain things and not enough time on some others and I've made some extraordinary contacts both in art and music. The photography side of my work has taken over the wet-side (collage, painting and sculpture) and I really need to rein in my deviations, somewhat quick. I CAN take a good photograph but am I a good photographer? That could be an allegorical question or just some internalising about my weaknesses.

I have been to a few opening lately in Manchester. These have been Sculptural, Musical and Photography. The 36EXP was quite something though, the concept for this was that 36 photographers had to take 36 photographs. They had to exhibit their stronger snaps together with their full contact sheets. The exhibition was sponsored by Ilford Films and they developed the photographs. Some of the work shone through but quite a lot was a bit sedimentary and somewhat transient in style. It was good though to see a fellow Blackburn College pal having her work displayed.

There are two exhibitions that are similar in style but vastly different in aesthetics. The show at Manchester Art Gallery is bold, interactive fun and very entertaining. It is named Recorders but there isn't any indication why it is thus named. Only afterwards in a Uni meeting is this subject discussed. Apparantley, because the exhibits need human interaction i.e. pulse readings, vox recording, a light show connected to your heart beat and huge catherdralesque sized mirrors, the artist is recording biometric data for future use. MMMmmm, very intriguing, I suppose.

Whilst at the CUBE {centre for the urban built-up environment], there is a similar, I think, an almost socio-environmental science based show. These exhibits centres on what is probable, what is needed and what is impossible. I found this one better of the two exhibitions though as I am interested in socio-psychology and the environmental side of art. They had remnants of a toaster that cost a few thousand pounds to make which was really interesting to look at and think about, a device for phantom limbs, a menstrual machine (which WAS odd) and a display of whisky made from diabetic urine. This interested me being diabetic and what was ironic is that being a severe diabetic, I couldn't taste any...b' ah.

So, university life has started again and the project is [SHELTER]. It is supposed to be a group project but I am a lone wolf when it comes to work and I can work with a group though, so it's no biggie. I have started the project with remnants of a project I started earlier and the end of the academic year, I just need to tweak a few things and put some thought into it. My main concept is the site of half demolished buildings, I am interested in the weather-worn vision of manky wallpaper upon brick, rust and nature flora such as lichen and moss. I need to find a location for a set of photographs although I have an idea for a hard edged collage...

My main idea is to find a half demolished (safe] house and project some super 8 footage that I have of a sixties family and play a looped sound of family. I think that we are transistory in the relationship of house, buildings and abode and until they are pulled down, they are the dominant partner in the two-tier life of us and them. I think a house retains something of it's ex-inhabitants and it slowly fades with the new owners. This is my concept and I know, it needs some work and sounds a bit baffling.

And now, up to date news. My project, Lucien Fellowes and his Collection of Particulars is maintaining a slow but steady following on FaceBook and I am booked into the Link Gallery to showcase his collection of nuts and bolts, polaroids of the locations and at least forty photographs from his road-trip showing RoadSide Markings. This will be in the New Year and I hope it goes down well, If not b' ah [again].

Tuesday, 5 October 2010

Friday, 1 October 2010

update about up and coming exhibitions

Well the time has come for the CTvCV Free For Arts Festival exhibition at Piccadilly Place, Manchester... I went in today to set up my exhibits and I was pleasantly surprised with the space and the environ. It is basically an empty shell of a building/space..looks like a car park with big-big windows... I have the perfect place for my photographs, seems like fate in a way. Helen, the co-ordinator gave it to me thinking I'd not like it but I love it. It has some kind of weird yellow and white markings on the floor and the place where my photographs are used to be a doorway which is now bricked up and frames my work, beautifully. I am really pleased about it and for once, I have an almost Taoist rush.

As for the Mute exhibition on Saturday in the Soup Kitchen, this is still on my mind and I am very, very nervous about it. It is just like before going on stage, getting ready to bare your soul to the public. My piece is all about the state of being asleep but also about being on the verge of being awake. I have played the piece to various people and have had different responses but the same statements of what they thought the piece symbolised..which is positive.

Thursday, 30 September 2010

new work-new ideas

Lesson 27


Here are two collage and paintings that I have just recently carried. I am finding old manuscript books and painting relevant and sometimes irrelevant illustration with in. Sounds a little basic but it is fun.

Monday, 20 September 2010


These were considered worthless but they are to be made as Interactive Sculptures

So I went to the Art Auction where I donated three of my sculptures that I made from cardboard and took about a week to design, build a paint. I waited for the time that the auction would start and when three items sold I eagerly awaited my turn. Lo! and behold...they didn't sell. Not a bean was offered.

This may sound like bad feelings or a bit of 'it's not fair' ness but what surprised me is that it was very cliquey. It doesn't need Sherlock Holmes to deduce that only the people from year three was and so were their friends. They all bided on each others things and of course...poor old me [et, cetera] didn't get a look in. Well, at least I put myself forward for public ridicule. I'm the only person to consider myself and my objects as Art Auction Failures but, [FUCK THAT]. Life is too damn short to cradle rejection and embarrassment close to the heart. I'm starting back at Uni tomorrow and will see the spectaters from the auction... I've been through worse socially uneasy predicaments in the past and will go through even more in the future.

I am on with poster for the preview night of Collective Vision versus Creative Transit and it looks good also, the tiled lettering looks fab with thanks from Charlie, the master tile maker. Start From Scratch is plodding along but I haven't got a bite with my photography, I am considering holding a photography exhibition and may be asking Bodie for pointers.