I found someone else who has written about my work in the loft. This post probably offers a clearer picture of the experience of viewing the work than I have, see it here.

Thanks to Karen for the extra thoughts and words.

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An afternoon spent sharing the work so far. In the last week I’d installed the prints and furniture blocks up in the loft space at Islington mill. I’d always had this space in mind for it’s intimate scale and timelessness, the sense of wonder that climbing the stairs induces, layers of marks, dust, glimpses of construction and former use. It allies well with the implicit life and memory of the furniture, the projected dreams, the ghostly apparitions of the prints onto fabric. In this I felt that the space was half the work and without the space, the work would be less. I’ve been assured otherwise. It was useful to see and hear how others responded to the work, the space, the work in the space.

A brief tour of the loft installation below. Photos of the individual pieces will go up on my website in a week or two.

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Some comments, all anonymous, left in exchange for an -in between- book (more of an exchange than a bribe):

tastes like burnt toast, bittersweet, peat, wood, sulphur, tea

smells like a story, a forest, linseed and memory, woodsmoke, water,

sounds like yesteryear, ambient, ‘whispers, laughing, eavesdropping, the stories you would tell the furniture’, the low drone of a road and moving air,  sanctuary from the world, normal life

feels like ‘somebody’s sadness, loneliness, just beyond the veils – but utterly peaceful’, haunting, damp wool, wondering and wandering, another world, mirrors

I would like to see it in a forest, more, in a national trust property, with spiders and butterflies, no one else,

 

in the loft

I had a wonderful time cutting the wood, making the prints, sweeping the floor, rescuing butterflies, following the flow of the soundtracks coming from the floor below, installing myself and my work in the loft and sharing it with those who came to see. My thanks to Islington Mill  and all who helped, saw and shared.

I hope to move the work on to another space where it can grow and be shared some more.

 

 

two months in brief

November 21, 2013

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A wedding book made first proof of steel sea etching

A large steel plate etched with the sea and proof printed many times as I learn how to wipe steel.

detail of 'basin';book of risograph prints

A book bound of orange fencing and Risograph prints made from canal basin line drawings, photographs, paint and watery objects. I’ll post a full look through the book sequence soon.

photo of an earthquake by Sarah Gillett

A visit to Margate and the Pushing Print exhibition featuring Sarah Gillett’s Earthquake installation,  above.

dreamland

A chilly afternoon with beautiful views, good company, warming ale and cheese.

sunset in margate

bookfair table

Another successful book fair in Manchester by Hot Bed Press, lots of lovely people and books, books, books.

A new routine, a little walking, a little making, a little walking a little making.

filled in doorway radcliffe

A visit to an archeology dig in Close Park, Radcliffe where an old tower was being dug, thought to have been part of a much larger complex.

trees in rainwater

solander boxes

A rush on Solander boxes, made for little crackd rabbit records yearly subscription.

allottment sky november

Autumn skies at the Southern Allotment, Manchster and outside the Walker Gallery, Liverpool.

liverpool sky november

'Swim to the Other Side of the Pool', Fiona Curran at Touchstones Rochdale

‘Swim to the Other Side of the Pool’, Fiona Curran at Touchstones Rochdale

I managed to get to two great exhibitions in Manchester in the past week, both inspiring in the making things in space sense….

Firstly, Waiting for The Perfect View, Fiona Curran at the Touchstones Gallery in Rochdale. I delighted in Curran’s painterly selection and assemblage of found and made objects (old woven and printed fabrics,hand tapestry, rubber, perspex,painted woods, rocks, feathers) that make each other’s textures and colours sing. The work arranged around the house shaped room (looks like a house when you draw it from above) used repeated and reinterpreted motifs and materials that prompt the viewer to consider the work and as a consequence, one of it’s themes…our relationship to landscape,how it’s disrupted, mediated and obscured by media, interpretation and memory….. from all angles.

Secondly, Head to Head at Castlefield Gallery with Hayley Newman and Emily Speed.

Both artists work with the body in space.I always enjoy Emily’s work and in this show I especially liked Wedged and Build-Up… that seem to focus on the tension in balancing materials and bodies. I’d not seen Hayley’s work before, it made me smile, I’d love to see her perform. I don’t have much time to say more and the links above and below say it better anyway…there is an essay here. 

http://emilyspeed.co.uk/news/

making a space

March 4, 2013

I’ve been pontificating for far too long over what kind of space I want to work in and how I want to work, finally I’ve just spent 3 days in the space that I currently have and did some of the things I’ve been meaning to do. It was fun.

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I cleared away my table and some of the many boxes of stuff that fill the studio. I knew I wanted to make a 3-dimensional response to a collage I’d done last year and that I’d also like to make some larger clay pieces of previous samples. I decided to keep things simple and only use what I could find in the room. I suppose I then cheated straight away as the sun came out and I spent half of the first day playing with the shadows it cast into the room.

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Later on I used objects to displace the clay I’d thrown into blocks. I’m not sure where I’m going with this, but it’s coming from looking at canal basins and locks…places where we have taken chunks out of the ground to channel water, effectively creating sunken vessels..this links to a post I never made last year about contained water, the photos never posted are now below the clay pieces.

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The second day the sun didn’t come out to play so I got on with moving furniture about to reflect the space in the collage into the room…I used previous drawings to depict the foliage and made floor rubbings to mimic the strata of rock, the window was my door and the table my water channel. It’s not so easy to show in one picture….

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A small space full of angles. The third day the sun returned and I spent time photographing the shadows that came around and making a drawing.

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Drawing on paper of a drawing in a space from a collage/drawing. In spite of the cramped angles I’ve relished the process of working within a space and short block of time, only wishing I’d moved the desk and boxes earlier in my relationship with this present studio. Although it might make it harder to work with paper, next time I’d like to work outside so I can add water to the object, shadow,space, drawing equation.

contained water

October 1, 2012

Lake Vrynwy was created in 1881 after the UKs first stone walled dam was built to flood the valley and  the village of Llanwyddn. It was created to provide and send clean water through 68 miles of aquaduct  to Liverpool and Merseyside where the population was growing larger than it’s source of water could sustain.The dam is 44 metres high, 37 metres thick and 357 metres long. A road runs along the length of it that you can drive or walk along. Another village was built to rehouse the villagers that kept the name of Llanwyddn. In times of drought the old village can still be seen.

On the other side of the dam is a sculpture park full of wooden sculptures carved by artists from Wales, Australia and Eastern Europe. Some really lovely pieces.