Wednesday 17 January 1pm Monika Rycerz is a Plymouth based printmaker. She also works as Printmaking Workshop Co-ordinator in the department for Painting, Drawing and Printmaking at Plymouth College of Art where she helped Clare Thornton produce new work using the college’s wallpaper block press. She will talk about her experiences of making this work with Clare and share responses to other works in the show.
Monika collaborated with clare to use the wallpaper press at the Art College starting as an idea for performance involving the press but developed with idea that the press itself could be used. Very giant ancient press. There was a physicality of the process, like a dance, choreographed movement. Very beautiful process. Not a screen print or digitally manufactured but an old process used by so few now. It involved finding out how it worked, step by step. Both Clare and Monika embraced whatever was happening. They had to work out their own registration technique. Made two rolls of wallpaper. It was a very exhausting process involving thinking and the physicality. Artist have begun using wall paper as a means of communication beyond the decorative. This process was about discovering beyond a place both were comfortable inspired by the artist Rose Fin Kelcey who declares there should perhaps always be as an artist “the joy of being a perennial beginner”. Deliberate intention to challenge self. Important to take risks break through levels of embarrassment and fear of perceived failure. Clare’s performance background enhances her idea of collaboration. She suggested “do things you don’t know how to do and stretch yourself and your ideas beyond the things that you have learned to do well..”
Text piece Italic Eye, co authored piece with artist Emma ? . Talk about falling record and transcribe then re visit text forming a layering.. Italic Eye exists in other forms, books, wall text, performances etc all around the subject of falling and how this relates to the practice of being an artist. The collaboration came out of overlapping, shared interest and at times is almost ritualistic in nature. “A lexicon of falling”. Other writing and works have come from it though still through the lense of falling..Clare described it as like “a conceptual Ear worm” As Clare became quite practiced at falling on the cushions for the stills. The teetering, the letting go, the falling they this felt echos the process of making. How the work is perceived can be flavoured by the context. They took it to theological conference where The Fall could have become subject because if the delegates awarenss and interest but they have a strong resistance to tying it down. It remains an opened work an ongoing dialogue. Clare and Emma were not friends before collaboration this has come out of a meeting of minds. Often made notes when they met up and understanding has come out of the collaboration process. There is an affinity around shared philosophy and ideas. They have incorporated ideas from book by Peter Sloterdijk, ‘Spheres and bubbles’ , Clare works in many collaborations and enjoys that approach. Nice to have someone to “jam with”
Today was spent in the studio printing with the colligraphic plate made using found sea plastic from my beach walks. I had produced an initial print before Christmas but it was rather rushed and the colour was in need of more consideration. Today I had a set up the room more effectively and found the extra things that I needed to help with the process; blotting paper and a sheet of heavy weight paper to receive the print. Though the prints are more carefully printed I still like something about the rawness of the first print and want to keep some this. There is still so much that I would like to do with this process, it is just a beginning. As I printed the plate deteriorated quite quickly as plastic broke and pealed. this somehow enhanced the plate and made it easier to work with. A convenient erosion if you like. The final image is perhaps a quite one but there is a loud and gathering message, the sea is full of plastic and this can't not be....
Climavore Cooking sections: (spacial practitioners) Plymouth Uni 10/01/18
Climavore Cooking sections: (spacial practitioners) Plymouth Uni 10/01/18
Cooking Sections practice came out of the work that they started together to explore the systems that organise the world through food. It is a research based practice that explores the over lapping boundaries between visual arts, architecture and geopolitics.
How do we eat in response to climate change? Cooking sections (Daniel Fernandez pascal & Alton Schwabe) created a dining space of 25 dining surfaces mapped from Dead Sea sink holes is in response to the receding waters of the dead sea. Changing the space challenges how the participants eat and producing food that reflects the changing climate and the challenges of food production. So how would we eat in a time of drought or polluted water... Plants organise them selves in patterns at these times organising where to grow to increase survival. cooking sections produced dining surface in these patterns relating to how plants grow in drought dealing with edge of the desert and nomadic lives. 2015 brought about the installation performance climavore on the Isle of Skye. This was set up as a reaction to farmed salmon. The proposal is that farm salmon is producing a fantasy of Scottish salmon. It's not Scottish or really salmon... farmers choose the colour they want to "die" the fish through the food/chemicals the fish are given. This means the water is highly polluted and these frames are only really proving low paid unskilled jobs. In contrast there are other ways to farm sea creatures that can provide good protein, sea creatures can clean the ocean. Oysters and other mollusk. Cooking sections built their own oyster tables which at low tide are tables for humans. 1000 oysters are being farmed. The project set out to encourage people to eat Skye/Scottish oysters as opposed to salmon. Oysters used to be poor mans food but has become exclusive due to availability much as salmon used to be expensive food but has become every day due to increased availability. They are also looking to encourage seaweed as food source. Alongside this there is consideration of how to produce these food sources in light of climate change. Oyster farms not oyster beds as a farming possibility not just environmental improvements. There are no additives put into water instead the oysters clean the water. An ethical alternative to vegan/vegetarian diet.. a sustainable diet that looks at a new framework for eating. Cooking section has had the success it has had through exploring this project as an arts project as apposed to any other route, for example the Environment Agency, because within the context of an arts project there has been so much more scope for freedom of experimentation.
Vickie Fear Independent producer of contemporary art (not a maker) Working with Clare Thornton Worked on We The People Are The Work Starting to work on Groundwork with Karst DIY arts led approach Discussion today: Paying artists
Major sources a-n website www.payingartist.org.uk have instigated lots of research and campaigns they also have produced recommendations ... ie daily rates . Exhibition fee £740 There is power in artists working together to make things happen.
Susan Jones worth following on social media, researching paying artists Orange book “what they didn’t teach you in art school” Annabel Tilley Artist need to live/pay rent and not asking for crazy money. Public perception around art world can be that artist do it for the love of it or the art world is very glamours and exclusive.
How are Artist building opportunities? Local example Jamboree Rachel and Hannah from Low Profile. Second Jamboree in the summer worth attending? look at website for next event. Grants For Arts funded. Self organised practice schoolofthedammed.tumblr.com alternative MA program Also Bloomberg new contemporaries, Liverpool Free School,
Curating as an artist can also be an empowering situation, not just waiting for someone to discover you.
People and websites to look at: Paul Klein “How to succeed as an Artist” workmakeswork.tumbler.com artist diagrams of working practice A-n Artist led hot 100 an.co.uk/resource/artist-led-hot-100-version-ii Counterplymouth.com annual artist book fair March Keep it complex Glasgowinternational.org Whitstablebiennale.com Liverpool Biennial look at associate artist page Bristol Biennial Manchester Contemporary Plymouth Art Weekender Axis web- vacant space available to art Human Hotel Art quest a program callled exchange Art Cornwall #artops #acefunded #wedontneedgatekeepers #artisthot100
In the week’s after Christmas this exhibtion rings with a resonance of the time and tension of the the holiday season and time spent more closely with family. The underlying tensions that can surface through even the most enjoyable times spent together is hilighted in this collaboration between Jonathan Baldock and Emma Hart. The violence and tensions of a supposed children’s entertainment is highlighted through installation, sculptural forms and film. Within the film there are echoes of the close up tension of the Susan Hiller piece An Entertainment. Hiller used footage of Puch and Judy performances to produce a video and sound installation. The piece by Baldock and Hart, though it includes other media to imply the tensions of home life, the domestic and violience also sets up a tension through the use of sound. Sitting in the Hiller installation was both uncomfortable and facinating just as it was to walk round the space in the De La Warr. Much of the tension in both was th debating sound. I cold not walk round the one without remembering the other. Interestingly the domence of pink within the piece gave the whole a feeling of the feminine dominance. It is an interesting paradox within a piece drawn from an entertainment for children often seen to reinforce the male dominance and the permission to beat women and children.
One of the things that has taken me by surprise is how much I am enjoying the printmaking facilities and have even joined the uni print society. I didn’t expect to be joining any university societies but I have joined Plymouth Uni print society, PUPS and this has been hugely rewarding. Yesterday was letter press day with Paul Collier and though I didn’t photograph it as all we did set a small piece of text. There is a huge collection of fonts available and amazing to think that this was the way all print was produced only a few short years ago It is interesting to think of text as object and this might be useful both in the production of work and the extension of ideas.
James Charlton’s Catch | Bounce at Karst. In a place between installation and conceptual art the work explores the time between catch and bounce. James Charlton gave the Atlantic Dialouge last Tuesday in which he talked about not talking about art work. He put forward the argument that showing images of and talking about art work before it is viewed diminishes the experience of the audience experience within the exhibtion space. Having seen only a glimpse of the work from the lecture and heard people talk about it today I was able to visit for my self. It was certainly helped by having the chance to ask James yesterday about his lecture last week and it felt in no way diminished by the fact that in some ways discussed the work. Though we had talked about why we were not discussing the work itself! And it definately did help me to understand it more having been at the lecture and having talked with James himself.
What happens when we talk about art? • How talking effects "making" • What might we do about that?
There are tensions that we encounter when talking about art; the problem of talking about work as well as recording work, photographing it, blogging etc. Not that we shouldn't talk about it but that in doing so we need to be aware of the tensions. James Charlton in his lecture outlined these tensions in his own work. Within his practice he keeps talking/writing about art separated from the work itself. He posed the question can we approach writing in the same way as we approach making. Can talking, writing, reading be viewed as emergent practice? There is a dialogue between the artist and the material, can this be true of writing? Much of what Charlton seemed to be saying stemmed from a discourse around what is the art work? The performance first given and no other or can there be reenactments? Are these re-performances merely a pastiche of the work produced before or are these works new works in themselves. By recording or talking about work after it has been performed seems to change the work itself. The example used was of a performance by New Zealand artist Justin Allen entitled News. The first performance in the 1970's is a post object art work in which Allen opens and screws up a news paper again and again until it is disintegrated. Allen performed it again in the early 2000's and then it is re-performed by artist Mark Harvey in 2015. Is it then a reenactment of a reenactment and no longer the work itself? If the work exists in multiple states what then defines the work? Charlton suggests that Harvey's reenactment of "News" is flawed by being a reproduction. Alongside this Charlton asks if talking about art somehow displaces making art. He suggested that on most bachelor degrees students make art but on MA course they talk so munch about the critical framework that the art production might be slower. He suggest however that there is a difference between making art and being an artist. As an undergraduate students are shown how to make workbooks, blog, write, creating critical distance validating their work. This makes students into artist but what does this do to making? Making and reflecting? The idea of material practice falls apart when you contemplate the audience. As soon as you contemplate the audience you are putting the work on a pedestal. Talking about art verses making art There is an exteem self consciousness occurs when emulating or representing rather than critiquing. The work becomes something only when we have been told something about it by the artist. there must be a balance between the work of the artist and the work of the audience; the artist to devise her own work and the audience to respond. work that is not replication and the audience to have some knowledge of their own about the world. It is better to leave the work to the work of the audience, to allow them to 'discover' the work for themselves. reflexivity as representation turns art into a subject. Claims to knowledge can be assured be cute they the audience have been in the space/place of the art and the reaction to the work is there's alone with out being told what to think about the work. the have had a response to the work itself without direction. At the end of the lecture we still had only glimpses of what Charton work might look like leaving the onus with us to head to KARST to see that exhibition when it opens the following week.I was also left with questions about the sustainablity of an artist life in which you say nothing to anyone and how does the work exist beyond the first showing?
This week saw me out on Green Cliff beach looking for landscape lines and drawing in my sketchbook but what in the end really captured my attention was the plastic.... there was so much of it once I started to look. A previous visitor to the beach had made their own assemblage with a lobster pot, plastic and drift wood. It has been stormy lately and the beach has been blown about much more than when it’s calm. Rocks have been moved, the pebble ridge has changed shape, there is plenty of driftwood but the plastic makes for a sorry sight. The North Devon coastline is breathtaking and on this wet and overcast day it was still wonderful. Lundy was emerging from and then being enveloped by the sea mist and the distant coastline to Hartland was turning deep blues and greys before disappearing into white. These distant views have barely changed over many years but close up the evidence of this Anthropocene age is all around. I collected what I could like the often told story of the boy throwing starfish back in the sea from a beach covered in them, what difference did it make to pick up theses few bits? It made a difference to that one, that one bit was no longer there on the beach or in the sea. I have brought them home and started to work with them. They have the potential for collographic printing plates or some kind of assemblage. As I see the scraps of my beach combing pilled up I am reminded that every bit of plastic that I have ever used still exists somewhere and I wonder what is to be done?