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For the past few years I have sought comfort in the life that I have ended up living, a nomadic existence which has seen me chase winters around the globe for the past 19 years.  I have interspersed these winter locations with periods of study and time on artist residencies.  Balancing two for want of a better word careers in the snowboard industry and art world. Both of these lives are far from careers but passions, lifestyles or compulsions.  Neither life in either world is one that I do for the sake of it but because something in me drives me too.

However over the last couple of years this identity of being nomadic has been something I have had to question.  In the past I always returned to Queenstown, New Zealand for the months of June-October and I’d somehow find a home in the Northern Hemisphere for December- April (Colorado mainly) returning to see family in the UK in the episodes between.  Since graduating in 2013 from Edinburgh College of Arts I have been on the move NZ, Greece, Chile, Armenia, West Virginia, NZ, Scotland, NZ and now Switzerland.  This rollercoaster few years and even now no real plan or certainty ahead I realise that I am less a nomad but rather I am adrift.

When i raise the concerns in my life and art practice with people in resort or on residencies its hard for them to understand the position I am in.  Reactions tend to favour one of two replies either, wow your life is so interesting it must really help your creative practice or how about you have a summer in the UK?  I believe we all have interesting lives and mine is no different its just what you decide to do with your days that can make them different.  What we don’t experience is always more interesting than our day to days.  As for having a summer (last summer being in 2001) I would be happy to have a summer or even normal seasons its just that I have no clue where.  Having lived a transient existence my idea of home has long disappeared and without an attachment to somewhere makes this idea of spending a summer hard to swallow.

My lack of posts on here have been mainly due to this fact as instead of producing I have stalled, not stuck but limited in how I proceed.  I continue to create ideas and harness an urgency to work in both worlds.  The balance of teaching and snowboarding alongside my art practice I feel is necessary.  However not knowing where I will be, or where I will be based limits production and raises many concerns with work that I create, from the logistics of sculpture whilst on residencies to the temporary existence within an art scene or community.

So at present I do not know where I am heading, I know here in Saas Fee, Switzerland I hope will be a home for at least a few seasons.  Whilst outside of these months I need to figure out how I produce and engage with other artists in a healthy way.  Realising I am not enjoying the convenience and my practice is not necessarily benefitting from this nomadic life and that the reality is that I am adrift and I need to figure out where I will reach land in the future.

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I am finally settled into The Auxiliary here in Stockton-on-Tees, UK.  I flew back from NZ last week and traveled north on the Thursday.  I am here working on some new modes of output for sonic works.  Realising how I can install some of the glitch sound pieces and working on new processes at the same time.  Anna and Liam who run The Auxiliary have been great hosts and offer heaps of support both with introducing me to the area and equipment.  The next two months should prove to be fruitful and I am excited to see what I can accomplish in this time.

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TRADING PLACES 1.0
PRIVATE VIEW: 3rd DEC 15 18:00-21:00
ALL WELCOME
Exhibition Open:
4th -6th DEC 15
11:00-16:00
(appointment available on request)
Open Crit/ Roundtable discussion: 5th Dec 15 13:00-14:30

As part of 12ø Collective’s A/W 2015 Residency, artist Joshua Parker will be curating an exhibition from entries from an open submission to explore possibilities of how emerging art practices could survive continuous austerity measures while maintaining critical reflection of the contemporary.
Trading Places will work as a projection of an impending landscape, when art follows business models, corporate strategies or corporate aesthetics to sustain and fund art practices, as this could soon to become the only feasible way progress in an austerity lead environment.

Selected Artists:
Tom Camm – http://www.thomascamm.com/
Rachael Davies – www.rachaeldavies.co.uk
Hannah Dickinson – http://www.hannahdickinson.com/
Sarah-Joy Ford – http://sarahjoyford.com/
Sid and Jim – www.sidandjim.com
Hannah Taylor – http://cargocollective.com/hannah-taylor
Charles Verni – http://www.charlesverni.com/
Dickie Webb – http://www.dickiewebb.com/
Alice Woods – http://www.alicewoods.co.uk/

12ø Collective – http://www.12ocollective.com/

Open round table, critic, discussion with some of the featuring artists on Saturday 5th Dec 15 13:00 – 14:30, all welcome to join in, (refreshments served)

Adress:
12 Orpen Walk
Stoke Newington
London
N16 8HG

*we do apologise but wheelchair accessible isn’t possible for this location although we will do our best to make the exhibition accessible through other means.

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“Constructed culture sounds like conculture” at Ellis King, Dublin

February 26~2015

9.-Adrien-Missika-Ultimate-Thrill-2-2015

“Constructed culture sounds like conculture” explores the practice of five international artists, their individual approaches to storytelling, formally and conceptually and how the artworks they produce suggest a narratative world with its own set of rules, a constructed environment. When using the term “constructed”, one is prompted to think of a conculture or fictional culture. Constructed Culture is not synonymous with what social anthropologists define as a cultural construction; a shared understanding of some aspect of the world that exists because the people of a specific culture acknowledge and understand that thing to exist. Constructed culture sounds like conculture examines the work of five practices using various techniques to illustrate their individual, constructed worlds, which emerge out of their subjective and uncondensed experience. These experiences range from political investigations into a cultural dream, formal breakdowns of architectural elements, romantic journeys into the tropical and wild, to interests in social codes and re-writing the codes of a rollercoaster landscape.

Darren Bader, Mia Marfurt, Adrien Missika, Lydia Ourahmane and Tabor Robak all integrate popular images in their works, in which glimpses of daily life and banal social observations help building narratives where traveling to exotic destinations, computer gaming, formalism, art history and mystic afterlives become the doors to an alternate existence. Such “pop” images are tightly edited in order to shape the story intended to tell, and influence its interpretation, and often propagate notions of home, identity or (be)longing.

Curated by Samuel Leuenberger.

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at Ellis King, Dublin

until 14 March 2015

– See more at: http://moussemagazine.it/constructed-culture-ellis-king/#sthash.spkDr0JG.dpuf

6.-Mia-Marfurt-Finkenkrug-2013

3.-Adrien-Missika-Jardin-d.Hiver-version-synthetique-III-2015

10.-Mia-Marfurt-No-Time-Like-the-Present-B-2015

Elín Hansdóttir
SUSPENSION OF DISBELIEF

KW Institute for Contemporary Art
KUNST-WERKE BERLIN e.V.

Auguststraße 69
D-10117 Berlin

15. 3.– 25. 5. 15
Exhibition / 1+2
Opening: Saturday, 14.3.15, 17–22 h

For SUSPENSION OF DISBELIEF Elín Hansdóttir produces a site-specific work, which uses the architecture of the former margarine factory as a starting point for a spatial and filmic installation.

Hansdóttir places the viewers in the spotlight of her cross-genre installations. Over the past years, her artistic practice has shifted from sculptural concepts to dynamic spatial arrangements, which incorporate sound and light, but also address the changes in the viewers’ perception through their own movements as essential elements. SUSPENSION OF DISBELIEF is the first work by Hansdóttir in which the filmic experiment plays a key role. Employing acoustic and optical effects as well as architectural elements, her works explore the potentials and limitations of spatial experience.

SUSPENSION OF DISBELIEF is funded by Medienboard Berlin Brandenburg. With additional support from the Icelandic Visual Arts Fund, the Icelandic Art Center, the Embassy of Iceland, and the Muggur Travel Grant.

Elín Hansdóttir, SUSPENSION OF DISBELIEF, 2014, Working model, detail, Courtesy Elín Hansdóttir and i8 Gallery, Reykjavik

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Here are some recent photos from Beyond Tinted exhibition which took place between the 19th-23rd of November 2014 at the Modern Art Museum, Yerevan MAMY.  These works I created after participating on the ACSL artist residency here in Yerevan.  Through the support from the residency as well as ECF Labs which helped fund my time here in Yerevan.

Beyond Tinted consisted of four series of work incorporating past and present processes and mediums.  The works developed on previous themes and new concepts researched whilst here in Yerevan.

U – DYS – HET
(Audio/Visual Digital Collage)

Watchers
(Digital Prints)

Folded Control
(Mixed Media)

Contained Spaces
(Mixed Media Sculptures)

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I am never really that satisfied with presenting a photograph, as is, maybe because I do not consider myself a photographer or possibly the medium itself feels detached when solely presented.  Seeing Thierry Furgers’ work exhibited in “It was all a Dream” was simple yet effective in bringing the site and location to the image.  I guess for me the images had a feel rather than just being processed.  The photographs became objects and tactile, for me this causes a sense of urgency to engage more with the works.  Like I say simple method but used to great effect.

Here are some images of “It was all a Dream”. Further work and information is available here: http://www.buffedpaintings.com/ and http://www.thierryfurger.ch

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