Glasgow International - so far!

(18/04/10)

SUSAN PHILIPSZ

Clydeside Walkway at Bridge Street

(19/04/10)

DAN MILLER

SWG3 OFF-SITE PROJECT

5&7 Osbourne St

(19/04/10)

SANDY SMITH

SWG3 OFF-SITE PROJECT

5&7 Osbourne St

(19/04/10)

CLAIRE BARCLAY

Glasgow Print Studio: Trongate 103

(19/04/10)

STEPHEN PARTRIDGE, JOHN ADAMS, KEVIN ATHERTON, STEPHEN LITTMAN AND PICTTORIAL HEROES

Street level: Trongate 103

(21/04/10)

DAVID SHRIGLEY

Kelvingrove Art Gallery and Museum

(21/04/10)

VESTAGES PARK

Curated by Lowsalt

Outdoor Garden/Wasteland at the Glasgow Sculpture Studios

Jannis Kounellis

Unititled 1968

Wood and Wool

This work was made at the time of Kounellis’s first involvement with Arte Povera. The carefully dyed but loosely wrapped hanks of uncarded wool epitomise Kounellis’s choice of simple materials at this time. Linked with Arte Povera’s exploration of basic media, they also suggest Kounellis’s attraction to earlier civilisations. Although he had abandoned painting at this stage in his career, he later suggested that the structure of this work had been partly inspired by Jackson Pollock, with the hanging wool teased out to mimic dripped paint. (From the display caption April 2009)

http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=21551&searchid=10270

Mark making with dye

The concept of marking.

The use of marking and the theory of marking interests me. Marking livestock is something that has always been done to keep track of livestock. Each farmer marks their sheep a different colour to the farms next door.

Sheep are also marked in lambing time to keep track of lambs and their mothers. Also in sheering season, Sheep are marked when they are cut so the farmer can treat it and keep an eye on it for infection.

Intrests so far

Summarising thoughts:

• staining- intentional/unintentional/ physical
• growth
• time
• multiple
• markings- mark making- intentional/unintentional

• instability - place/space - relationship

Place-Space

Art Works

PLACE

TACITA DEAN AND JEREMY MILLAR

THAMES & HUDSON

ENTRANCE

PLACE- THE FIRST OF ALL THINGS (pages 11-26)

'The question what is place? presents many difficulties. An examination of all the relevant facts seems to lead to different conclusions. Moreover, we have inherited nothing from previous thinkers, whether in the way of a statement of difficulties or of a solution.'

Aristotle, Book IV, The Physics

Stalker, Andrei Tarkovsky, 1979 film:

'...Old traps vanish, new ones take their place; the old safe places become impassable; and the route and either can be plain and easy, or impossibly confusing. That's how the zone is.it may even seem capricious. But in fact, at any moment it is exactly as we devise it, in our consciousness...everything that happens here depends on us, not the zone.'

'...we must always remember that while we might easily be lost in place, we would certainly be lost without it'

Alternatively, (place) might be used as a synonym for 'space' or 'location', 'site' or 'territory'

'A landscape is the land transformed, whether through the physical act of inhabitation or enclosure, clearance of cultivation, or through human perception'

Faith Wilding

Faith Wilding

Weeping Urns

Chemistry vases, fabric, ink and wood

Saw this at CCA and loved it!

Artists Statement My art practice is complex and recombinant, and makes use of whatever media best accommodates the subject matter, content, and purposes of the project at hand. I work in many materials and formats including drawing, painting, printmaking, writing, artist books, performance, and electronic media. My recent mixed media collage works on paper, and my Rorschach-print based "wounds", "embryos" and "fetuses" for example, represent a cherished and long-standing commitment to drawing and printing as a way of exploring psychological and philosophical ideas and cultural phenomena in sensuous visual materials and tactile embodied forms. I think of these works as "recombinants", for they recombine not only traditional media such as watercolor painting and meticulous ink drawing with the much newer methods of collage and montage, but they also speak of the psychic state of the body today - the recombined war body, which has been violently cobbled together from nomadic social, cultural, and political fragments. The recombinant body, which is the subject of much of my work, is an uneasy, monstrous depository of melancholic historical fragments expressed as animal, human, organic, and machine parts. It is a body both beautiful and strange in its monstrous (im)possibilities. I think of my visual work as a kind of "applied theory" based in research about contemporary social and cultural phenomena and ideas. A recent project, Wall of Wounds, is an example of such "applied theory". "Show your wound!" is an imperative which seems to be the motivation fueling TV and radio talk-show entertainment all across America today. Wall of Wounds seeks to comment on this situation using sensuous printed stains and marks on skin-thin tissue paper to restore affect in opposition to the numbing spectacle of pain. At the same time it draws attention to the consumption aspect of the talk-show phenomenon, by inviting the viewer to acquire a personalized wound. I am currently very interested in random and involuntary processes and in the ideas they give me for consciously manipulated and developed images. Embryoworlds is another example of the way in which I combine theory and practice in my work. In this evolving project, I comment on the new "assisted conception" technologies, and on the effects of technoscience on women's lives and bodies globally. This project has everything to do with the languages of science and art which encode our deepest fears, desires, and longings in narratives of evolution, choice, idealization, immortality and perfectibility. For different exhibition venues, I present different aspects of this project which includes computer assisted prints on vellum; small paintings; writing; artist books; sculptural components; collaborative performance and WEB pages. I'm interested in the transformational and pedagogical possibilities of a radical art--an art which uses beauty as a terrorist tactic, rather than an end in itself. Faith Wilding http://faithwilding.refugia.net/

Reinforced Steel

REBAR

Investigating the source of the staining found on the bunkers and building work in Alderney.

Masonry structures and the mortar holding them together are similar to concrete and also have a limited ability to carry tensile loads. Masonry units like blocks and bricks are made with advantageously placed voids to accommodate rebar, which is then held in place with grout. This combination is known as reinforced masonry.

Highway bridges, parking garages, coastal facilities and other structures have been built using stainless steel rebar sticks.

http://www.rebar-info.com/rebar-info-uses.html

looking at the rebar structure it brings to mind artists such as Sol Le Witt and Tony Cragg.

Sol Le Witt

Tony Cragg

http://sillysidilly.wordpress.com/

Starting Point

Alderney, (20th-31st March)

Alderney Mining Chart

As a starting point to this project I am using the research I have on the the time i spent in the Aderney's. I am looking at the things that intrest and intrigue me most.

Geology of Alderney and the formation of the Island as a whole.

The same bleeding effect from the ageing steel is found all over Alderney. The rusting and decaying of the steel is very prominent. I am drawn to the nature of steel, how it manages to stain and bleed into the material next to it.