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.
I’m continuing to think about how to use the latex skins cast from around the periphery of the house. The strips on the walls here, run around in the same linear sequence as the floor around the house (but in reverse!) ; they touch the walls of the house – you can see where the strips are cut away at the bay window.
There’s a lot more material than wall space. I’ve propped the remaining skins in rolls.
I’ve begun looking at ways to choreograph the sixty linear metres of latex skins gathered from the ground around my house; a tangible response to the past nine months. It’s not easy. It’s complicated – the situation is ever – changing – we are still in the thick of it.
I last reported on this project in June; a record of the floor space around my house – ; back, front and side – the boundary, perimeter, edge of outside / inside; danger / safe space as Covid – 19 continued to escalate. Over spring and summer months I collected 60 metres of latex floor skins. It’s been in my attic for months: overwhelming smell, grubby, abject, oppressive.
A whole year ago I attended a great quilting workshop led by Angela Maddock at Oriel Myrddin. The world was so different then. I made some new friends, shared threads and pins, ate fabulous food and wandered around the gallery. It was so easy.
When COVID – 19 forced us all indoors in March this year, I began stitching this quilt in the evenings. It’s a work in progress – I just keep on stitching each night – see where it takes me…
I was fortunate to visit two of the galleries showing this year’s BEEP painting prize selection before the Lockdown brought it to an abrupt end.
What a fabulous range of contributors. Many artists were absorbed with the materiality of paint and the physicality of its application. Very rewarding to encounter. A great show indeed. (Main image: Jeb Haward).
In October I had a great afternoon visiting the Glynn Vivian Art Gallery. It was my first trip out to see art in the flesh since the Pandemic.
The whole gallery had been re- hung and was a delight to behold, it truly raised my spirits, starting at the temporary entrance, greeted by a joyous Bert Irvin painting. I felt waves of gratitude, just looking at all that red.
It was SO good being in the gallery, looking at the sumptuous use of colour and the physicality of making; it all seemed to be screaming of being alive. It also felt a lot like archaeology – you know that feeling when you touch a door lintel or pick up an object knowing it was held centuries before by someone else – a lost civilisation, and you feel a weird almost connection with them? Impossible to articulate.
Selection of works from the excellent ‘Pushing Paper’ touring exhibition: Richard Deacon, Anselm Kiefer, Susan Schwalb, Anish Kapoor, Jonathan Callan, Fiona Robinson, Cornelia Parker and Edie Allington.
A week later, just when I thought it was safe to go outside, the shutters came down and a Firebreak began across Wales. Galleries are once again closed which is so sad – the space felt very safe and the positive affect on my wellbeing was palpable. I will wait patiently for it to re-open.
This is another attempt at presenting a collection of stitched tissues from my Pocket Remains project, all from a particular year. This piece which is 1:1 scale, is from scans of the 140 tissues collected in 2019.
I’ve been wondering about how I might present a collection of tissues from a particular year. This is one attempt, constructed from scans of the 140 tissues collected in 2019.
I’ve been wondering about how I might present a collection of tissues from a particular year. This is one attempt, constructed from scans of the 102 tissues collected and stitched in 2019.
As part of my developing relationship with artists and curators in Japan, this year I co-curated Lifting the Lid, a group exhibition at Gallery Art Spot Korin, Kyoto (August 18 – 30) with Masahiro Kawanaka. The exhibition brought together thirteen artists from Wales and Japan who are interested in the Everyday and the exploration of ordinary objects. Work ranged from glass, ceramics, sculpture and assemblage, to print, digital and mixed media. Given the travel restrictions due to Covid-19, each artwork was mailed to the gallery. Some artists used their packaging as an integral part of the artwork.
For me, what has made this exhibition distinctive is the range of ways in which each artist has realized their objects, responding to the things they encounter in their worlds. There are artworks which reference specific cultural practices such as Ikebana (the Japanese art of flower arrangement) and traditional welsh weaving. Some artists have explored particular objects associated with history, memory and nostalgia, others have drawn attention to the unseen, unloved or overlooked. A number of artworks have transformed the ordinary whilst others have invented completely new species of objects.
One highlight of the exhibition was a zoom gallery tour on Saturday, August 22nd. This was led by Osaka based artist and participant Matthew Fasone. It was a great way for artists from both sides of the globe to meet each other and to talk briefly about their work. It gave us new insights.
Thank you to everyone who contributed to the show.
Participating artists: Anne Gibbs, Aya Shimamoto, Chris Bird-Jones, Chris Nurse, Daniel Trivedy, Frances Woodley, Heather Parnell, Lisa Krigel, Masahiro Kawanaka, Nigel Talbot, Takaya Fujii, Yuki Tsukiyama.
Find out more here…