Roll Call by Phil Hackett in response to Facing Extinction – Gustav Metzger Exhibition

My involvement in the Facing Extinction, Gustav Metzger exhibition at the James Hockey Gallery, Foyer Gallery and Linear Gallery at UCA, Farnham, England.

Roll Call by Phil Hackett

A rolling mass of throwaway paper, each centimetre representing the number of species currently identified as being endangered in the eleven regions/continents of the world as designated by Endangered Earth.

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Facing Extinction, The Exhibition, Fine Art Student Responses

Facing Extinction, The Exhibition, Fine Art Student Responses.

Mine and my fellow artist’s response to the Facing Extinction – Gustav Metzger exhibition at UCA until the 7th of April 2014.

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Big Blue Cock – Un Monumental (Art Review)

July 2013 to January 2015, The Fourth Plinth Trafalgar Square, London.

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Hahn/Cock is a sculpture of a giant blue cockerel by the German artist Katharina Fritsch that currently occupies the fourth plinth at Trafalgar Square.

It is a gleeful feminist sculpture, poking amiable fun at the vainglorious monuments of DWM (dead white men; like Lord Nelson, George IV, and Generals Havelock and Napier) that surround it in this most imperial and public of British spaces. “Humour is always a big thing for me. It stops things from becoming too severe. I like English humour as it is so often very dark.” (Fritsch, 2013)

The Thorney Island Society, a local conservation group, objected to the sculpture on the grounds that it was “unrelated to the context of Trafalgar Square and adds nothing to it but a feeble distraction”, but The Guardian’s chief arts writer pointed out that Fritsch’s other works have a habit of appearing fanciful, dramatic and unrelated to their contexts “one should not overthink it. It’s a big, blue, funny, weird, surreal bird in Trafalgar Square. It’s going to cheer us all up. Katharina’s Cock, as I like to think of it, should be a hit.” (Higgins, 2013)

Katharina’s Cock captures popular imagination and public support because of its immediate appeal and joyful snub at the masculine environment in the square whilst also becoming a focal point for discussions about the place of contemporary art in public spaces, making it relational and participatory, it is both monumental and un-monumental, it is a site specific piece and yet is also non site specific.

The fourth plinth, is in the square’s north-west corner of Trafalgar Square. Built in 1841, it was designed to hold an equestrian statue – like its twin, in the northeast corner that depicts George IV but funds ran out and it remained empty until in 1998 the first in a series of temporary sculptures for the plinth were commissioned. Works by Rachel Whiteread, Yinka Shonibare, Mark Wallinger and Antony Gormley are among those to have occupied the space previously.

Hahn/Cock, which was selected by the Fourth Plinth Commissioning Group (a body that includes artists Grayson Perry and Jeremy Deller), occupies Trafalgar Square for 18 months.

Quote Source:

Q.1 http://www.theguardian.com/artanddesign/2013/jul/25/big-blue-cock-trafalgar-square

Q.2 http://www.theguardian.com/culture/charlottehigginsblog/2013/may/01/art-sculpture

Image Source:

Fig. 1 http://upload.wikimedia.org/wikipedia/en/c/ca/Hahn-Cock.jpg

Additional Information:

Dead White Men: http://en.wikipedia.org/wiki/Dead_white_men

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Exhibition Review, Tim Stoner, Purdy Hicks Gallery, London

Groupthink Exhibition, 11th September – 5th October 2013

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Fig. 1Bikinis, 2013. Charcoal on paper, 56.5cm x 76cm

Stoner is a British artist, born in 1970, a prolific group exhibition contributor, this exhibition at Purdy Hicks is one of very few solo exhibitions Stoner has had to date. The exhibition is of finished works on paper and according to the exhibition information sheet they ‘reflect how the human unit and group bonding co-exist within forms of folk culture, vernacular media and the imagination.’

For me I feel Stoner is attracted to capturing the human desire, the human need to interact, operate and undertake activities in groups, and/or how the presence of peer pressure and group dynamics can change the actions and even the moral outlook of the individual.

Everything from beauty contests, dancing troupes, family photographs, funerals, marching demonstrators and Nazi soldiers are represented in these works. The exhibition space was not solely occupied by Stoner’s work however he had the entrance wall and the front section of the gallery space, giving you the impression that it was a solo exhibition.

‘Bikinis’ (Fig. 1) is what first attracted me to view Stoner’s work, it is reminiscent of a lithographic piece (a favourite of mine) by Otto Mueller ‘Three Girls in Profile’ (1921) and has for all its vacancy and lack of detail a real sense of capturing the moment. It is a quick sketch, slightly naïve, as is all of Stoner’s work; that gives the impression that he was there, capturing the moment in just a few short brief marks of his charcoal.

It is fascinating to see this process adapted and utilised in various mediums, oil paint, watercolours and various crayons and chalk are all used, all on paper. The use of silhouettes, vague detail and naïve marks, enables you as the subject to create your own story of what is happening in the art works, and yet there are also discernible elements, identifiable that ensure that the original source, the group story that Stoner is attempting to tell is always part of your own interpretation.

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Fig. 2 Rah-Rah, 2013. Oil on paper, 33cm x 51cm.

“The subject of Stoner’s work is light, and how painting both creates an illusory space and destroys it with its flatness. The figures imply movement and rhythm, but in painting this is impossible. The dance in painting – think Poussin, Renoir and Matisse – is always about this paradox between immobility and movement, time and timelessness. It is all just an accretion on the surface. What complex paintings they are. They make you realise what a rich, deceptive, unfinished business painting is.” (Searle, 2013)

Stoner’s work is both personal and anonymous, showing details that become clear because they are rendered with an ethereal surface, the moments captured are both real and imaginary, fairytale and reality. It makes us question what we do when we are alone that we wouldn’t do in a group, what we are willing to do or become part of when the group dynamic takes us along, or the peer pressure grows to the point where our individuality is questioned by our own judgment.

Stoner’s work is exhibited simply, with little interpretational information, leaving the viewer to spend time with his work, observing the images from our past or our possible future. ‘George Orwell described a world of Groupthink in his novel 1984, where non-subversion is described as an act of complicity, generating a force that drives humanity into the arms of totalitarianism.’

Quote Sources:

Q. 1 Searle, Andrew (2013) [The Guardian, Art Review] (Text) at http://www.timstoner.co.uk/www.timstoner.co.uk/About.html (Accessed on the 11.01.14)

Q. 2 Hicks, Purdy (2013) [Gallery Exhibition Information] (Text) at http://www.artlyst.com/events/tim-stoner-purdy-hicks (Accessed on the 11.01.14)

Image Sources:

Fig. 1 http://www.wsimagazine.com/multimedia/5522/5522.jpg

Fig. 2 http://www.artlyst.com/img/events/10017.jpg

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Human For Sale!

I wonder if anyone can afford (or wants) me!

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