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
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.
For the HFWAS Knees up I was invited to make a fun piece reminiscent of childhood tales around the piano with nanna. Given that easter was fast approaching I decided to make a live version of the Cadbury egg bird whose bright colours and manic behaviour filled my youth. The bird man went about causing mischief and passing out chocolate eggs after smashing them on his head.
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
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 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 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/
The third show of the Minervala Market is fast approaching! A stranger has negotiated his way beyond the gates of Minervala. Going by the title of Dr Caloshistic, this traveller has appointed himself head of our bar. So come in for a free consultation from within the Cabinet of Dr. Caloshistic.
Clamp Handed Lizard was the result of a residency at the Wig gallery Birmingham during January 2015. The gallery was reshaped and transformed into a fictional queer bar which opened for a single night.
Performance artists were invited to use the night for trialling experimental work. All of which was presided over by Hilderguard (a performance character) who acted as a Madame interacting with the other performances.
Visitors were encouraged to drag up for the occasion, make up stations and costume boxes were provided for those who wished to try it. Traditional pub games including the bars own version of chess were laid on.
The history of the bar was written down among several hundred individual flyers. This now remains as a permanent work; exhibitors are encouraged to add or swap flyers.