Around the House is crammed into a space 3.6 x 2 metres. I think it’s abject and oppressive, appearing to pour in from a vent. Thank you photographer Dewi Tannatt Lloyd for recording the piece.
Finally, in May it was time to get into Gallery 3 at elysium to complete the work. After much procrastination and some tests with the help of a staple gun and my mate Nigel, we began to fill the tiny space.
More arranging of these latex skins for the Elysium show coming up at the end of May. Taking things a step further, I’ve begun building up and out, over chairs, boxes, plant pots. These things are immediately to hand but in the circumstances, burying or drowning objects in a pool of my outdoor floor casts seems entirely apposite.
I’ve been working with elysium gallery, Swansea for over a year, planning a group show together. Without Borders, which is now planned to open in July (fingers crossed) will have work from creative people associated with different groups in Wales and beyond. Each submission will be exhibited, included in an e-book and tour to different galleries in the UK, Europe, Japan, US and Canada. At the end of the tour it will be bound into a book and handed to a library for public viewing.
The plan is to attach the tissue to the A3 page and fold it back in when the book is bound.
I found time to do a little man handling of these latex skins again recently. It’s frustrating that my attic studio space has a pitched roof but I’m making the most of it until I can venture out. There are lots of possibilities for these strips – I’m looking forward to seeing what takes shape when I eventually get into the gallery.
I don’t usually do this, but for 1SSUE 46 I scanned one page from each of the contributors before compiling into books. Here they are – a great collection of images. They will be on show as part of the forthcoming exhibition Without Borders at Elysium gallery in Swansea from July 3rd (pandemic permitting….).
Thank you to all of the artists. Top left to bottom right: Alan Rogers, Chris Bird-Jones, Chris Nurse, France Woodley, Hazel Cardew, Heather Parnell, Masahiro Kawanaka, Matthew Fasone, Nic Pimlott, Paul Hazel, Peter Davies, Phil Mead, Richard Cox, Yumiko Inagaki.
In the tradition of our rotating editorship, I’ve been the editor for 1SSUE 46 artist book and these are my pages in sequence before they are distributed to the fifteen artists who have contributed.
My pages are another Pocket Remains series; drawings around the paper receipts, lists, tickets etc found in my pockets in 2020. I’ve been very conscious of edges, perimeters and borders during the pandemic; what forms insides and outsides.
The pages run in sequence from January to December, made with silver, gold and bronze sharpie pens.
As the surface of the silk fills with stitches each evening, I’ve begun to wonder what will happen when I stop stitching – what next – how will this be resolved ? One thing I’ve become aware of is the undulations of the quilt when I move it across my lap. The inner wadding gives it support, it holds its form creating plateaus and ravines.
There’s an intimacy, difficult to articulate, between me and the fabric I’m stitching as it settles on my legs and I slowly work my way with needle and thread up and down, in, out, in between. The action looks mindless but each stitch signifies a decision, a moment.
It’s hard to capture the entire surface of the quilt – as I step back, details diminish. It’s interesting how the photographic record has influenced my decisions; a way to look and revise.
Stitching between stitches has had quite an effect. Still, the image holds far less than the tactile object. Up close, the eye can roam and the hands can investigate rippling peaks and troughs.
The quilt I started during the first lockdown continues on. It’s evolving. This silk scarf is in my ‘Pocket Remains’ collection, one of the many items awaiting attention. Contrived as this may seem, I’ve used other pocket objects to mask off parts; to stitch around, leaving negative spaces.