I’m pleased to announce that my work Painting the Town… (2018) will be exhibited in Melton, the inspiration for the work. For one night only in Melton Library, accompanied by a brand new Film Talk – Violence in the Western”
Painting the Town explores the origin of the phrase “Painting the Town Red” which has historical roots in the town of Melton Mowbray, one night in 1837, the Marquis of Waterford and his men whilst drunk caused mayhem throughout the town, with a few of the men literally taking brushes with red paint to part of the town. Also inspired by the ending of High Plains Drifter (1973) dir. Clint Eastwood, which sees a violent ghostly figure played by Clint Eastwood manipulate a town into doing his bidding. Ultimately advising them to paint the town red. Taking this as starting point and the newspaper accounts of the violence in Melton, which by today’s standards are exaggerated. Compared with the violence found over in America’s lawless Wild West. Focusing on the violence of the frontier America as depicted in the Western.
Focusing on violent scenes from 4 films, recreating the sets in model miniatures form in 2 pairs. Emphasising the reaction of violent acts upon the victims are projected into the respective miniature sets.
Accompanied by a Film Talk the explores in more depth violence in the Western genre.
Due to the violent content this event is only open to over 18’s.
Tickets – £1, available at Melton Library
My Gold Mine Cross-section was exhibited at this years Two Queens Members show at The Two Queens Members show is an open and inclusive showcase of recent work by studio holders and members of Two Queens. The exhibition showcased work by over 20 artists and launched alongside the May edition of Cultural Quarter Lates. For more information on Two Queens and how to become a member then please visit www.2queens.com/membership
Bogdan Anda, Lucy Andrews, Gino Attwood, James Chantry, Daniel Cowlam, Penny Davis, Jane Domingos, Mateus Domingos, Luke Elson, Johnny Green, Jack Halford, Les Hayden, Tim Hardman, Sam Harriman, Austin Higgins, Leila Houston, Kate Jackson, Kerry Jackson, Khush Kali, Julie Kilminster, Daniel Sean Kelly, Tim Neath, Tony Walker and Emma Willis
I am pleased to announce that I am returning to New Mills to exhibit my work, as part of the New Mills Festival Art’s Trail 13-29th September. Look out for more updates!
Part of Leicester’s St Georges Day – (20th April 2019) celebrations My studio, Two Queens is running the annual Open Studios Please come along to and take a look at all the amazing art and artist who work there. I’ll be around so you can see my current work in progress Cowboys Invaded on display in my studio space. It would be great to see you all there.
I am pleased to announce that my latest piece – Painting the Town… (2018) will be part of this years members show at Two Queens in Leicesters Cultural Quarter 25 May | 6:00 – 9:00 (Launch) 26 May | 12:00 – 6:00
Featuring the work by:
Mita Solanky, Tom Harding, Harry Freestone, Darren Baxter & Helena Mcleod, Maarja Henisoo, Lucy Andrews, Amrit Doll, Khush Kali, Mateus Domingos, Jane Domingos, Daniel Sean Kelly, Kerry Jackson, Leila Houston, Abigail Morris, Katerina Luchkova, Les Hayden, Luke Elson, Scott Mason, Jack Halford, Gino Attwood, Daniel Goodwin, Tim Hardman, Tony Walker, Daniel Cowlam, Jake Kent, Melissa Beardmore and Finn Morris.
I started off the next day with a return visit to TJ Boulting which I had previously exhibited Stephanie Quayle: Jenga last November. I noticed that a few pieces had taken up permanent residence in the office as we entered. Work of a similar medium was down below Bloom – Juliana Cerqueira Leite.
“These works examine the –often exasperated– gesticulations of individual subjects interviewed by the news as representatives of a certain crisis: a refugee, a soldier, a doctor or aid worker. Gesticulations by politicians and reporters, as they attempt to explain complex issues to news viewers, are also explored in these works. Leite aims to create a permanent register of these bodily means of extending language and the ephemeral articulations that shape and are shaped by the geopolitical landscape.”
I was personally drawn to the mass of gestures created out of clay and resin, the movement of arms fighting to move, captured in slow-motion. The layered colouring reminded me of chewed up drumstick sweets, the two colours becoming intermixed with each bite. Really having its roots in geology, raising these pieces as if they have come from the ground.
In the next space I found framed stills of paused Youtube videos, blurred and collaging gestures, as if the video had been badly corrupted. I found these more fascinating, how much work has gone into create them.
“The new photo-collages and video are both composed of screenshots from these same news sources i.e. Al Jazeera, Reuters, AP, Vice, BBC. These works isolate and capture the gesticulations of interview subjects while exploring the codified visual formats and time-frames employed by online news outlets for reporting on humanitarian crises.”
The last piece in the show I physically couldn’t stand, a series of flashing images, similar to the collaged stills that were flashed for less than a second, you didn’t have time to really process what the images were. I had to leave just stop myself having a bad physical reaction. I feel bad as I wanted to sit there and understand the work, instead it was a fight or flight response.
The next gallery was another return visit to Blain\Southern, which exhibited Matt Collishaw’s – Centrifugal Circle, probably my best show of the year. I came to view the latest Chapman Brothers Show – The Disasters of Everyday. I had big expectations for this show, I think coming back with such powerful memories, and the reputation of Jake and Dinos Chapman who I’d seen last a few years ago at a White Cube Gallery. Instead I left with positive yet mixed feelings about the work. The space, now opened up and brightly lit for the show. Three of the walls were covered in reproduced sketches by Francisco De Goya, which were worked over the top in different styles. The first series – The Disasters of War on Terror (2015-16) saw childish characters placed into these horrific scenes of the Spanish Civil War, which detract from the brutality, playing it down. The second series – The Disasters of Yoga (2017) I found far less successful, less work seemed to have gone into these far more naive pieces, the sketches covered in coloured glitter. It wasn’t my aversion for the material, more the use, the excess of the material, it removes any real meaning or message in the work. It felt lazy, only a few I felt were really successful. Moving onto the final series – The Disasters of Everyday Life (2017) collages, which were more successful, paper collages, placing carefully chosen images and placing them into these horrific scenes, either creating a new narrative, making modern humorous statement. Figures would ignore the drama they are place into. I really enjoyed this series of works. The brothers are clearly playing with the horror of violence within the images directly, trying to mock them, yet never really drawing us away from the original. They are away of drawing the audience into the work that could be seen as a record of a long forgotten war.
In the middle of the space were a series of bronze suicide vests on plinths, these disturbing pieces, surrounded by the potential of death, the bodyless vests, waiting to be worn and set off killing countless people is unthinkable, and we were surrounded by them. The detail and time that went into Life and Death Vest I-VIII (2017) is incredible. I can only imagine the detail and time that went into the research, the near trouble the Chapman brothers could have got themselves into whilst making these pieces.
The last show I felt was a disappointment really, I was hoping to see more than I found. The only bonus was to experience what is now a rareity the sound of an film projector, to hear to the rush of film running through a projector reminds me of films I saw as a child, the rush and clicking of film passing through the lens. Phillip Fleischmann’s show Installation View at Belmacz, was literally just the film on the ground floor. I found the film itself interesting, focusing on the arcihtectural structures of a space rather than how we would usually perceive a space, not looking beyond the space we usually interact in.
A smaller and briefer trip than I am used to, however I did get to see some interesting and some nice cars and model miniatures so I’m happy.
A shorter than usual trip, with only a handful of shows this time. Starting off with a bit of fun at the London Film Museum – Bond in Motion. Billed as the largest collection of Bond cars ever, which wasn’t my main draw, it was to see everything else on top of the cars/vehicles. Once I was there I was like a kid in a candy store, looking at the cars, especially those which the guns and rockets on show. Definitely one for the boys. The icing on the cake being a model miniature from Tomorrow Never Dies (1997), that was built to allow the production team prepare how to film the finale, complete with cylindrical saws.
My next stop stayed with the filmic theme at The Photographer’s Gallery, for a show I really wanted to see. Instant Stories. Wim Wenders’ Polariods. Exhibiting some of the remaining polaroids the German took on location and for inspiration. Out of the thousands he has said to have taken only a fraction remain which allow you to get an insight to his thinking. I see them like sketches, see it, capture it and move on. Taken in the 70’s and 80’s, you get to see him working and exploring America and Germany. I really could have stayed longer than I did, going around the two floors of the show a few times, taking in each carefully framed polaroid, given a new precious status, this ones throw away images are given something far greater than was ever intended for them.
I am pleased to announce that I will be exhibiting Just One More Game (2013) in Merge-Art and Film‘s show – Monochrome (27/10 – 3/11/17) at The Cafe Gallery, Islington Arts Factory, London. I will be attending the preview on 27th October 6-9 where I will give a short talk and Q&A. If you want to attend please check out this link for free tickets.