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| Caroline Broadhead 22 in 1 armpiece |
Objects from artists I have seen and admired before, as well as new artists/makers.
- Caroline Broadhead 22 in 1 armpiece cotton, nylon 1984
About clothing and the body of the woman wearing it, and how the two are related. I am interested in this relationship too and have made things that were to be worn but expressing what it feels like to be inside it. This one's less obvious than some of her work, which in my case makes me think about it and its meanings more.
Use of apparently machine-made holes reminds me of this sculpture outside Spitalfields. Which makes me laugh.
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| Indeterminate object 2 (2014) Graham Guy Robinson photo from http://grahamguy-robinson.co.uk |
- Ann Sutton
New work from one of the early artists of the textile art movement
Ann Sutton Caged 1
New, but follows understandably from the previous work of hers that I am aware of which was also exploring the possibilities of simple shapes in primary colours.
Reminds me of Bauhaus weaving which went back to the basics of colour interactions between adjacent colours.
Distinctively her own style and area of interest.
This time in three dimensions.
An exemplar of the importance of finding your own way as an artist. - Rita Parni...
Ever since I saw an article about her work in Craft Magazine, I have wanted to see some of it in person.
She makes translucent hangings intended to go in front of windows to translate the light into something intricate and moving with the air. She invented a new technique so that she could do this.
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| Xray towers from Xray fabric crystal series Rita Parniczky 2012 photo from Emma Love's article about Collect Open 'I want to look inside' |
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| Her piece from the Collect Open 2015, inspired by perpendicular cathedral architecture, which is itself a stylised representation of trees, and suits what she does perfectly. She adds lightness and delicate movement of the air to the intricate regular vertical patterns. Intricate, light and monumental hanging across the space. Inspiring and awe-inspiring, just like the architecture. |
- Claire Lindner
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| Claire Lindner 2014 Violet Bleu I haven't seen anything by this craftsman before, but this was striking enough to be on the cover of the catalogue. The colour variations are not due to the lighting in the gallery, but part of the piece. It looks soft, organic, vulnerable, but is in fact hard, with all the texture and shapes made intentionally by the ceramacist. |
A close-up of the surface detail.
Playing around with the material to find out what you can make it do.
Textiles have even more possibilities of texture, soft/hardness, dry/moist than ceramics. I enjoy playing around to see what appears. I should do more of that.
- Jacob van der Beugel
Jacob van der Beugel
Wall panel with some areas finished and some rough.
About 'rehumanising data'.
Waves of ridges - reminds me of the panels on the walls of some concert halls designed to improve the acoustics.
The unexpected change in finish/texture gives it an intriguing quality.
- David Gates
Bit like hives
Bit like cameras
Enigmatic. Not sure about this - Is there a reason for the change in quality of finish between the boxes and their stands? Is there a meaning I am supposed to divine? I can't help thinking I'm missing something here...
Talk by artist called 'vagueness and particularity' referring to these as collectors cabinets. The importance of the relationship they go on to have with their contents.
Hm so perhaps my feeling there was something missing was responding to something... - Tord Boontje collection of some of his chairs - lively, amusing, endearing. Chair as fun. This craftsmanship thing doesn't have to be all po faced.
Tord Boontje Petite Jardin
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| Toord Boontje Witch chair from Happy Ever After installation Milan 2004 |
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| Tord Boontje Crow Chair, Wednesday collection 2001 |
Playing around again.
More of that would be a good thing...
'If you go on the high street or a car show room...materialistically its a very poor world we live in.' The artist uoted by Grant Gibson in the catalogue.
Although in some circumstances it might be a bit overstimulating...
- Some other objects that caught my eye:
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| I didn't record the artist for this lovely container, but looking at the Galleryten website I'm thinking it may have been Anna King who makes textile containers. There is something that resonates with me here, secret hidden things inside intricate round boxes. Somehow all the energy has gone into hiding the thing ornately. |
A large fruit made of feathers from a game bird. Making me think about the amazing natural colours of both the bird and fruit.
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| Annie Turner Again that intriguing combination of familiar object made with unfamiliar material The rustiness does it for me. |
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| Hans Stofer Allerselen Made from found glass, olive stones and metal |
Attractive little labels too.
The ring (left) is described in the catalogue as using non-precious materials in jewellery to emphasise the preciousness of the object. I'm not sure about this because to me the roughness of the glass and the 'home made' look of it give me a feeling of homeliness that comes with things that are made with the heart rather than the head. Making it precious for non-material reasons. (Which on reflection may be the same thing?)
The ring (left) is described in the catalogue as using non-precious materials in jewellery to emphasise the preciousness of the object. I'm not sure about this because to me the roughness of the glass and the 'home made' look of it give me a feeling of homeliness that comes with things that are made with the heart rather than the head. Making it precious for non-material reasons. (Which on reflection may be the same thing?)
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| Infinity wall installation Valeria Nascimento, Sheng Tsang Chen and Cristina Vezzini 2015 Again it had a lightness as well as complexity to keep you looking. The opaque shapes like big round half eggshells had more delicacy than the transparent reflective ones. A bit cold and smooth for me - I like a bit more roughness to my textures. |
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| Installation from Making Enhanced Alice Maclean Justine Boussard This photo is from the catalogue too - of work in progress in an exploration of Peckham Rye. But here really to remind me how much I enjoyed the one by Jennifer Gray and historian Soersha Dyon exploring an inventory of the objects in someone's 16th century will, and therefore the interior of an early renaissance house. The colours and simple shapes were played with in a way which modernised them while retaining the essential medievalness of them, like a sketchbook on a larger scale. What visual research really should be. Great. Planning to do some of this big scale visual research for my personal project. |
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