I’m currently researching outdated Nuclear technology for an upcoming exhibition in september, more details to follow soon but for now here’s a teaser.

 

Venice with New Art West Midlands

Venice O my!

Egg gods/ David Oooooo yerh/ Hunters/ Water sports/ Finland! / Spite/ Nose masturbation/ Bum caravans/

Archives / Thread / Animatronic Penguins…. STOP My head hurts!

 

This September New Art West Midlands very kindly let me come to the Venice Biennale with them. It was my first time out of the country in ten years and what a way to start. Monarch kindly deferred financial collapse by a week to get us out and back.

It was wonderful to be with such brilliantly friendly people full of ideas and mixed interpretations of the work. It was refreshing to see how others approached viewing work.

The most influential lesson I ever got was when my elderly teacher took away my rubber. She said I had to learn from my mistakes. This has guided my approach to how I make and view art.

You only ever get one first impression of a piece, make the most of it. I never take information about art until after I’ve experienced it in the raw. Great work doesn’t rely on writing to be readable.

On to the damn ART already.

Where to start? SCOTLAND!

Possibly because of its isolation from the main bulk of work but I suspect because of the commitment both of scale and effort involved in it the Scottish Pavilion stands out as one of the most interesting pieces. A 20-foot vertical screen dominates a blacked-out church. Mirroring the themes in the piece the beauty and scale of the setting only becomes apparent once your eyes have adjusted. It’s a gloriously textured piece looping back in on itself elegantly melding Facebook symbols, myths and modern morality

Battle of the titans.

Arsenale VS Giardini

These two monstrous beasts are of very different flavours.

Welcome to Giardini land, how may I help you today?

Initially has the feel of being a Disney land for people who like to say they’re in the arts but beneath the theme park layout and selfie advertising there’s a wonderland of work replete with jabberwockies and trolls.

Russia was disturbing and disappointing played as a send up of the country’s military heritage, but neither vicious or damming enough to be real it felt much more like a display of Soviet might and total control.

Canada however was brave, daring and playful and by far and away my favourite piece (I returned 3 times). I was lucky enough to come upon it from the back entrance via England as you walk through the door to a shattered and gutted pavilion open to the skies. Strewn with playful wreckage using water to react to the presence of visitors, culminating in a ravaged fountain at its heart.

How Bloody Big is the Arsenale?

This was no tourist playpen but a fully formed gauntlet of art gladiators stretching on into a parallel dimension where a giant kitten was terrorising art critics to get to the biggest balls of twine in the multiverse – Just me there? Sorry.

A complete clusterfuck cacophony of cultural Kunst. Ok so I had a beast of a cold starting as I went through the belly of this beast so I kinda experienced it in a somewhat dreamlike state. While there were pieces which succeeded and others that failed for me it was the experience which stuck with me, a million myriad ideas jostling for dominance of my attention constantly trying out do one another.

D . A. V. I. D. was probably the piece we most bonded over as a group, a prince charming nestled half behind warehoused vulvas.

Spain must take the prize for most fully realised idea – a dystopian nightmare laboratory – and China for worst pavilion, reading like a garbled mess presented by half-arsed 2nd year student. At least the Venetian pavilion had the grace to honestly be an advert for the Tourist board.

 

Beyond The Thunderdom… Erm Venicdome?

A thousand thoughts fled through my mind as I raced up to Manchester for a performance the next day. Egg gods of Finland, upended trucks next to caravans with bumholes.

Curators struggling with Performance. There’s still no resolved answer for me but it’s finally permeating into the landscape of these beasts.

The bizarre way many of the pavilions used English as the primary language frankly shocked me. A hangover from colonialism one of the running themes in the Arsenale. Research being presented as work sometimes so lazily that it made me question why it was in an art setting at all other times beautifully handled and worked over. This was the year of the Archivist at the Giardini.

Mainly it was the more delicate and subtitle works that stuck with me. Israel’s mouldy empty room hiding a great nebulous cloud, the music box desperately screeching away in a corner, the assistant endlessly nattering away while repairing clothing.

But mostly it was the Bravery of Canada. Childishly totalling their pavilion to make a joyous piece of work.

Thank you, New Art West Midlands and the people, on the trip it was Fantastic!

 

Vultans ALIVE!

A gruelingly personal performance over 3 hours. Both physically and emotionally it took a great deal from me, pushing my body further then any previous piece. I was amazed at just how many people stayed and watched as I evolved through the different stages and how detached from the audience I felt. this was in part due to the physical demands of the piece. Remaining still in freezing lube and milk for fifteen minuets in October while naked isn’t the easiest start. Then being deafened with water logged ears, blinded by a crop to the eye and heftily pelted with 45 lemons it makes for a tough experience. But also due to the lack of communication and slight unease at the sight of  raw eggs being spat and other parts of the performance it creates a distance.

For more specific details please visit the portfolio page.

O sweet DELIA!

 

https://vimeo.com/223288584

As part of Black Hole Club’s event Transmission I performed as the Queen of the BBC’s iconic Radiophonic Workshop Delia Derbyshire. The spirit of Delia uses outdated tech to mourn the death of analogue. Playing upon her excessive love of wine she drank away the night while inviting the audience to join her in smashing cd’s. ‘The vile digital replacement’.

Thanks to David Checkley for his invaluable help resurrecting the Theremin.

Transmission was Curated by Antonio Roberts and featured work by Jeff Kolar, Coral Manton, Daniel Hopkins, David Checkley, John Bradburn, Michael Lightborne, Patrick Goodall, Pete Ashton, Rebecca Mahay, Sian Macfarlane, and Vicky Roden.

see www.vividprojects.org.uk/ for more information.

Hail the queen of the May!

Hail the Queen of the May! A collaboration with Vicky Roden the event was based around our combined memories of mayday. The seminal film The Wicker Man was the main inspiration for us both. Roden having been a pagan and myself formally a christian it was interesting to see what differences and overlaps we had. The harvest was the main combining force.

The event acted as an introduction to GESTALTS residency programme at the WIG. Kicking off on May 2nd with Kate Spence (Co-Founder of HFWAS & Assosiate Curator for Vivid Projects) https://katespenceliveart.com/

Kate’s resiency will run untill mid June then followed by Grasslands founder Dan Auluk. http://www.danauluk.co.uk/ JUne 12th – July 30th

Blessed Be the YETI

The basic premise to Blessed Be The YETI is that the Yeti sighted in the Himalayas are real however they believe that Brian Blessed is a mythical creature and bringer of avalanches. Some Yeti remember him as a story from their childhood whereas others worship him as a god but none have any tangible evidence of ‘The Blessed’.

The project will explore Faith, trust, myths and hero’s and the effect time has on these. When I was younger I almost became a monk, and am interested in what mythical support structures (religion etc.) the Yeti would build up around ‘The Blessed’. Exploring other people’s view of faith (as the belief in the unprovable) and why people still have a need to believe in modern myths.

People are not totally rational but rather superstitious and emotional, they also invest their faith outside of traditional settings such as church, mosque etc. The recent resurgence of the superhero as a personal talisman is one form this modern faith has. Another is the rise of Donald Trump he tells the world ‘alternative facts’ and people believe in him in-spite of the evidence, why? Faith.

 

LUNG PROTECTOR at The Art Yard / Cradley Heath

 

LUNG PROTECTOR

a three week painting exhibition runs until the 23rd

It plays with the glamorisation of warfare and in particular the dehumanising effect early designs of gas mask. The show also pulls upon childhood fears and fascinations, playing in the attic and finding an old gas mask in the half light.

Five paintings now sold.

LUNG PROTECTOR runs from the 3rd until the 23rd of April and is then followed by ‘Blessed be the Yeti’ a experimentation of ideas for an upcoming project 24th till the 30th. Private view 27th 6 – 8

 

Black hole club Launch Night. 03/03/17

I’m happy to announce as a new member of Black hole club I’ll be performing ‘Glistening Scum’ for this years launch night.

Organised by Vivid Projects and featuring work by Pete Ashton, David Checkley, Elizabeth Cuffley, Ferric Lux, Patrick Goodall, Barry Griffiths, Jaime Jackson, Sian Macfarlane, David Poole, Kate Spence and Sarah Walden.

 

So come along and join me in the tub if you dare. http://www.vividprojects.org.uk/programme/black-hole-club-launch/

 

GESTALT

GESTALT Images of the opening night at Vivid Projects 03/02/17

GESTALT is a year long curatorial residency being supported by THE WIG

My aim is to foster new artists and allow artists the freedom to make mistakes and experiment with their practice.

Vivid Projects are kindly hosting the launch night on Friday 3rd February. It will be a night of live art and curated film work featured artists are as follows.

 

 

Grasslands

 

 

 

 

November 2016

Grasslands was an outdoor weekend residency run by Dan Auluk with artist’s Patrick Goodall & Vicky Roden and myself. For me it was a great opportunity to free my practice, spend time with fellow artists and allow my performance time to breath.

The other artists and remnants of previous residencies about me transformed the place from a simple piece of scrub-
land to secret retreat far from the madding crowd. It was a joy to take a break and pop my head over a bush and see Patrick sifting through his excavation.

Grasslands offered me a freeing environment where I could simply exist with the work unhindered by the constraints of audience. It meant I could take risks and make mistakes, altering as I went so that the work evolved at a more natural pace.

For more info visit  http://www.grasslands-space.co.uk/