Coagulation's Forensically Challenged...
'COAGULATION' opens 7th October 2005 through 'summer' residencies and an expanded exhibition program integrates over 40 multi-media practitioners from around the world, Croatia - Cuba, Brazil - Berlin, with a number site specific locations in and around Cardiff during 'CARDIFF CONTEMOPRARY' [Cardiff's Visual Arts month] Oct 05.
Phil Babot
title : marking time
Waiting...
until the alarm bell sounds
and the hammer hits home.
Waiting...
marking time.
Email contact: phil @babot.org
Website: www.babot.org
Caspar Below
Working Title: SMS Oracle
For coagulation I would like to do a performative and participatory piece, using text messaging. I am proposing to install a mobile phone in the space, with instructions on how to contact me per text message. They can ask me questions, announce their presence, report what they see, etc. whatever they choose to communicate. I'll be replying either on the fixed mobile phone or- if they choose to give me their number- to their own mobile. I would text them short riddles, questions, performance instructions using the sparse and broken-up language of text messaging. One idea is to divide the participants into their blood groups (if they don't know their blood group they would have to answer a few basic and made up questions. Based on the replies I would be able to appoint them to a blood group). Different blood groups could receive messages with combined instructions, i.e. coalesce in a space. The latter could happen via text messages - if they gave me their own numbers earlier- or more analogue by me with a megaphone. My theatre of war would be the shuttle bus circling between the spaces. From there I would receive and reply the texts, wearing a white coat (doctor's) and occasionally a police riot helmet. The installation would consist of firstly: a mobile phone, maybe several in different spaces, fixed to something immobile, Secondly: instructions on how to contact me, Thirdly: business cards with my mobile phone number, with a web address, maybe with short instructions again Documentation: I would write down, save, copy or forward all messages that I send and receive. I would try to set up a website which gives similar information, possibly txting facilities online, maps,… Eventually the website would list all communications.
Email contact: mockenzock@yahoo.de
Jan Bennett
Talking Head
The Talking Head is a big giant head. The 'bighead' is going to fill your head with big giant art words. It's going to talk to you about art. The head is an authority and you had better listen. You'll find it in the head office, a brightly lit white room. In the presence of the head you will listen and be listened to. The head may ask you questions. It will certainly give you answers. The big talking head knows everything. Make no mistake - it's no dummy. But, who is the head mistress/master? Who is pulling the strings or are there no strings attached in this dialogue with animatronic, cybernetic, automated homo mechanica. The big head is all seeing, all knowing….
Email contact: exquisitecorpse@btinternet.com
thesupereight.com
Tim Long, Kristel Trow, Richard Bevan, Nick McDonald, Rebecca Spooner, Ross Saunders, "Nobody wanted to get involved…involved…involved…involved" A young woman slumped over a sea wall. A man falling down on to sand. Two men running into tall reeds. A collaborative project working with film, sound and digital technology.
Email Contact: whereismymind8@yahoo.co.uk
Website: www.thesupereight.com
Fiona Black
title: Life's Little Philosophies series
The seduction of colour that surrounds you and envelops your senses
The smoke screen of seduction: capturing the gaze & the promise of a lingering glance of sexual uninhibitions
Working on a line that meanders between digital imagery of 1920 stylized women transcribed into paintings, reminiscent of film posters heavy with lipstick promises, along with the delicacy of contemporary figurative embroideries on pvc.
The tactility of the imagery works predominantly on a large scale, which combines the ephemeral qualities of stitch with the use of the gaze, be it direct or indirect.
A collection of embroideries work catching the light and play of shadows in any space. The tactility of the work creates a smoke screen immersed with the delicacy of lace stockings.
The permission to look lingeringly upon a subject that is entirely unaware of your presence creates a voyeuristic under tone to the pieces which intrigues and disturbs respectively.
The indulgence within pure colour and the captured gaze is a seductive technique that truly entrances the viewer, leaving a lasting impression of pure lust and desire.
Email contact:
Tim Bromage
title: UNTITLED
'Installation performance that drawsinspiration from the Biblical story of Samson. Exploring specific events and paralels that occur throughout his life.' [TB Oct 2005]
*Tim Bromage is Artist in Residence @ tactileBOSCH Studio's Summer 2005
Email contact:
Lee Campbell & Lorin Davies
title: Nosferattitude
Perhaps it was inevitable that Nosferattitude would seek sanctuary in Wales, the land of industrial soot and arcane sulphur. We feed on the dark energy of places. We feed on dread and panic. We feed on the life force of like-minded souls. The world is a largely inhospitable place for those of us who seek the shadows. In the past we have tried to create a more appropriate atmosphere with custom-made light fittings and soft furnishings. And we have sought to express our grim obsessions through music and video. Coagulation is our most ambitious work to date, an attempt to bring together everything we have learned in one multi-faceted experience. Nosferattitude is the monstrous creation of artists Lee Campbell and Lorin Davies, who met while suffering the torture of Goldsmiths college./p>
Email contact: leecampbell.web@virgin.net
Eva Castiel
Title: Coagulation - A Self Portrait
Using the landscape of her personal illness Eva has succeeded in drawing a darkly resonant and beautiful video out of her hospital scans after her stroke in Dec 2004. A work made doubly poignant by her entries into a very blank diary or as she describes 'her agenda that holds nothing...'. The works speaks for itself ... in two locations, tactileBOSCH Artist Led Space and More Front Studios in Cardiff, UK during the multimedia exhibition 'Coagulation is ...dark red and sticky'. Oct 2005 see www.tactilebosch.org
By Kim Fielding
Profile:
Eva Castiel's artistic path built through painting, drawing, installation and objects reclaims the initially random repetition of a structure grounded in her subconscious. Regardless of the medium, support, or exhibition venue of her choice, ordered spaces have always been a distinguishing feature of her art production. This trait derived from an urban living and vision that spawned exacting geometric arrangements of constructive characteristics.
After showing her work in art institutions and public spaces, Eva Castiel joined a group of artists in the appropriation of a vacant house in an upper-class São Paulo district. The group used this house to execute a project they called "Casa Blindada" (Armored House). At this venue, each artist addressed a current urban issue - violence - in his/her particular manner. Castiel treated this subject from a detached and objective standpoint. She created a sterile white room and covered its back wall with symmetrically piled rolls of white bath towels; and she showed her ritualistic tendency once again by placing an operating table in the middle of the room. Thus, she declared publicly her refutation of aggression and impunity. Later, the urban social involvement of this group of artists was extended to encompass mass housing in projects such as Zona Crux and São Vito, in which the dismal reality of the underprivileged social strata is likewise publicly exposed.
Tereza de Arruda
Berlin, March 2002
The author is an art historian, critic, and curator who holds a degree from the Free University of Berlin. She has lived and worked in Berlin for 13 years. In the last few years, she has curated several domestic and international art shows. She regularly collaborates articles to a number of specialized publications.
email contact: ecastiel@uol.com.br
Andrew Cooper & Mike Murrey
For the the forthcoming tactileBOSCH, "Coagulation" Show, Andrew Cooper and Mike Murray are proposing an abstraction that is derived from the Bishops Palace Herb Garden, Llandaff. A garden whose function, portrayal and durability has been metamorphosed through centuries of environmental, technological and historical change whilst maintaining a distinctive ambience. The work exploits the recycled object and focuses on reassembling the found items to serve as a self-sustaining space. This self-managing / maintaining structure makes use of low-tech technology to engage with the gardens past and present , i.e., a lawn mower, attached to a pole, mows grass unaided in ever decreasing circles, domestic air fresheners scent water which feed plastic flowers set into strategically placed baths, above, beneath and on the ground. The combined functions of these actions exploit the historical layers of the gardens tale and excite the viewers senses of touch, smell, sight and sound.
Mr & Mrs Claaaark
title:
Waiting text
Email contact:
Matt Duncan
Working toward abstraction while teetering lines hold the cords of memory past and future. I am drawn to the waters' edges. It seems that its borders are always close to my visual horizon. Water shaped, pushed, propelled, drawn and constantly consumed. Rivers that are merged and redirected becoming partners with us. In constant flux, the water decides when it is ready to free itself from the studied and guiding hand. It sometimes feels like the angry outburst of a child, leaving one with the question, "why?" or "why me?" - but always with a lesson for the hand if it can listen. Exposed shores with natural calming coves can be and are tested, but we continue to hug the shore. The idea of fusing this interplay happens with the action of chance by mixing fire, gunpowder and paint. I am trying to find understanding within this slow dance between the rivers, coastal byways and ports that have shaped the way we have designed our cities and eventually ourselves.
email : mduncan7@msn.com
Tom Eddy & Toni Knight
Title – 'Part Molded'
Throughout time men and women have been categorized and deciphered to various roles. Even in our society of different cultures it can be stigmatized that men are seen as the providers of sanctuary and women as the nurturers for home and child. The work questions and looks at conventional roles taking into a modern context that are associated with being predominantly gender identified.
Emai contact: pink_pops@hotmail.com
Equaldoubt
title: Performance
An exploration of 'musicality' of the body… It's when a sound meets a movement; it's when they can't exist without each other anymore. The unification happens - without the possibility of reversal. In other words - coagulation…
In this presentation we'd like to invite the gallery audience to participate in the theatrical event which crosses borders between performance and live art, between an act and a song, between a picture and a movement. 'Equaldoubt' is Agnieszka Blonska and Sean Palmer. The company was formed in the summer of 2004. Its emphasis is on making human theatre, which can be experienced by an audience on cerebral, emotional and corporeal levels.
Image by Maceo Wyro
Email contact:
John Paul Evans
title: Bed Sheet Dreams
I roll around on my bed, holding my digital camera at arms length whilst performing repetitive movements.I challenge the time machine to catch up and record my likeness. The accidents of the camera reveal a Òmovement of timeÓ rather than the moment in time traditionally associated with the medium One thing remains a constant, the ecstasy of being enveloped in colour. When the shootings done, I take stock, gather my thoughts,......... and change the sheets.
Email contact: Mail4johnpaul@aol.com
Deej Fabyc
title: "Bile"
In this work the artist draws blood form her body and adds to self portrait works by painting in blood on their surfaces and wraps the thus created drawings in plastic to ensure that no contamination can occur. The audience is then invited to view the drawings. This work was almost banned from Artspace because of the potential blood spills issue and peoples fear of contagion; in effect, contagion is extremely unlikely for in order to contract Hepatitis C blood to blood contact is necessary, i.e. sharing toothbrushes, injecting equipment or sexual practices involving transfer of blood.
2 Versions of it have been seen before at Artspace Sydney in 2002 as part of "Hard" a Biennale of Sydney associated performance event curated by Nick Tsoutas, Artspace Sydney, May 2002 And at ACT 2 a performance event at 291 gallery London, Friday 30/4/04
Deej Fabyc is a London based artist working with a forensic biographical approach to production and a macabre delight in exploring the dark corners of culture through live art, installation and sculpture. Fabyc has a commitment to collaborative practice and also directs a gallery called Elastic Residence, in her home in London. She is currently a lead artist in an International ongoing performance and writing project called KISSS which was launched at the Whitechapel Gallery in London on the 25th of August 2005 (www.elastic.org.uk/KISSS) Recent Live Works Include "And She Watched"as part of "Don't Call it Performance" Riena Sofia Museum Madrid, now touring to various Museums in Europe 2003-5, "Bile Story " As part of "Hard" Artspace Sydney 2002, "Details" In the Slovenian Pavillion, Venice Biennale 2001
For more information please go to www.fabyc.co.uk
Fanny Feigenson
title: Navegação rápida.
Teclas:
A. = Ritos de passagem I, 1998 (Vestido de cobre)
B. = Ritos de passagem II, 1998 (Balanço)
C. = Vestido sereia azul, 2000 (Vestido - Casa Blindada)
D. = Xale, 2001
E. = Avental, 2001
F. = Vestido de Baile, 2001
G. = Barbies, 2001
H. = Fascinia I, 2001
I. = Fascinia II, 2001 (Papou la)
J. = P.M.G., 2002
K. = Sutien vermelho, 2001. Detalhe.
L. = Sutien com pérolas, 2002
M. = Sutien metalizado, 2002 (um ao lado da outra)
N. = Framboesas e Cerejas, 2003 (roupas)
O. = Framboesas e Cerejas, 2003 (animação)
P. = Vestido sereia negro, 2004
Q. = Vestido sereia negro, 2004. Detalhe. (pés e sexo)
R. = Venha, preciso de ti; 2004 (ilhoses)
S. = Corpete, 2004 (homenagem a Guido Crepax)
T. = Calcinha de aranha, 2004
U. = Calcinha de ouro, 2004
Email contact:
Alyson Harris
title: Symbiotic/Parasitic Vessels 2005
Symbiotic, (Greek, symbioun, "to live together"), in biology, the interdependence of two organisms of different species, usually beneficial.
Parasitic, biology, living in or on another host organism, usually causing it harm but rarely killing it.
Diaphanous and semi-transparent dress like structures are in fact sealed vessels, with no hope of activity other than the movement triggered by the witnesses to their slow fluidic ballet. Turning as if to follow unfamiliar visitors, they are caught and held by the fibrous vein- like threads that connect these symbolic mothers and daughters. Layers overlap, shifting identities in a continuous state of flux, folding, layering, passing over and through cyclical dream states. Time moves more slowly here, on the stage of familial mirrors. Reaching over from one to another feeding and draining, invader and invaded, the competitor, carried within the host's body.
Email contact: ali.harris@ntlworld.com
Tom Harrup & Eve Tarver
title: Black Bag Bugs
Remnant of an insect's growth through machine. Eve plays with Colour - Scale - Weight - Humour. Creation of new species. Top stairs banister. Tom is the support. Growing into each. 7m > 12 x 8 - 3 = 93 chain links needed. Ultimately moving mine. Wheels - unfixed - moveable - a balance. Through wall dangling. 290cm > 39. Holes drilled, eaten away. Frame 5m? Parasite - bugs on sticks. 125cm (halved for shape) each link - max length needed: 116.25 metres. Hole. Hook. Claw me! Contamination. Spine 2 bays + 3cm into stairwell + 24 cm >>. Insects animal reptile. Spokes in line with sculpture structure.
Profile: Eve Tarver
Since graduating from a contemporary textiles degree two years ago, Eve has remained active in her field of sculptural textiles, and latterly jewellery. Eve has worked on woven rubber structures, varying from hand-size objects to expansive suspended forms. The material was sourced from industrial sealant scraps. Reuse is an important theme - Eve has now moved to creating new forms in one-off earrings: the components are car boot sale ephemera, costume jewellery and multicoloured feathers. Colours, shapes and their relation as a group create a strong visual form. The earrings are sold in Cardiff, Bristol and Edinburgh. Black Bag Bugs will be the second artist collaboration for Eve and Tom.
Profile: Tom Harrup
Toms sculptural practice, with particular attention to metalwork and kinesis, has been built upon since graduating from a Fine Art degree just over one year ago. Several commissions have been completed, including a bicycle shop sign. A week-long residency in Coed Hills Rural Artspace saw a new functional printing machine built from scrap tyres, gates and corrugated iron. Tom builds his sculptures as highly specialised tools - an extension of his thoughts built out of whatever is to hand. Growth and structure in nature, the fluidity of a form, and the sense of motion all inform his sculptural process. Drawing also remains an important facet of Toms practice.
Email contact: bjorkbabe@hotmail.com
Paul Hurley
title: I.Q.P.A.O. 2005
Like Paula Radcliffe from Athens in 2004, Paul Hurley returns from Beijing with a sprained ankle and the battered ego of an athlete who wishes they could've done better. Hurley was in China for the first |nternational Queer Performance Art Olympics, representing Great Britain in the pentathalon, an event that he lost to China's Wang Tao. Hurley will be making his first public appearance since the event and talking about his defeat at the hands of a sportsman whose stilettos didn't even fit properly. Paul Hurley is a Cardiff-based artist who works predominantly in live performance. His work deals variously with issues of sexuality and gender, with nature and with love. He has presented work across the UK as well as in the Netherlands, Russia, Brazil, China and the USA, and has contributed to books and journals on a similarly international level. Paul Hurley is supported by an Artsadmin artist's bursary.
Email contact: hurleyburley@o2.co.uk
Melville Mitchell
title:
Waiting text
Email contact:
Teresa Mills
A confusion of heterogenous elements, creating hybrid forms of the organic and inorganic, of human/ animal/ domestic object. Evolutionary perfection or perversion?
"Our bodies are always ceaselessly changing and what we have been, or now are, we shall not be to-morrow"
Ovid. Metemorphosis
email contact: tmillscynon@yahoo.co.uk
Ibrihim Miranda
title:
Waiting text
Email contact:
Simeon Nelson
This body of work is informed by the notion of stylistic change or process; theories of style proposed in the discourses of modernist and protomodernist historians such as Herbert Read, Hienrich Wollflin and Alois Riegl This process follows a rough cycle - archaism - classicism - mannerism - baroque - rococo - neo classicism. This body of work crystallises points in this process and recombines them into an imaginary genre that could be labelled "Ornamental Minimalism" Ornamatrix (for Sol le Witt), a floor work, forms an architectonic latticework. It is a crystalline matrix ornamented in a Jacobean fret. In Ornamatrix the ornament is the structure. The reworking of a Minimalist grid in this highly ornamental way is a critique of the banality of purist abstraction and the tendency of such (masculine) abstraction to ignore more emotional, embodied (feminine) aspects of experience. Ornamatrix is a feminized masculine structure - Sol le Witt in drag. Wall Zip (for Brancusi and Barnett Newman) plays on the high-minded seriousness of Barnett Newman's zip paintings. This famous zip motif suggests a mystical reality underlying our own that is normally obscured. Wall Zip places an ornament encrusted zip, a wrinkle in space that deforms the wall and by extension the building. The intense ornament in these works is based on my observation of Baroque and Jacobean architectural ornament and the carving and tattooing of Polynesian and Maori art.
email contact: simeon@simeon-nelson.com
website: http://simeon-nelson.com/terroir/boudoir.html
website: http://simeon-nelson.com/MappaMundi/MappaMundi.html
Kira O'Reilly
Title of installed blood works: Blood Lace Drawings
Title of performance: Quiver Profile: Kira O’Reilly is a UK based artist. Her practice employs performance, video, installation, and more recently biomedical and biotechnical practices with which to consider the body as material, site and metaphor. The works frequently bring artist and audience into immediate communication, allowing the possibility to engage in ways that are intimate, sometimes tender, other times perplexing, always revealing. Since graduating from the University of Wales Institute Cardiff in 1998, her work has been exhibited widely throughout the UK, Europe, Australia and more recently Hong Kong.
Contact: Kira_oreilly@hotmail.com
Graham Phillips
title: Delusional
The internal outside, the mind hides but leaks out like blood on a pillow. A sleepless pillow covered in false dreams and perpendicular memories. Delusions spread like ectoplasm in a lost confusion of a sleepless life. Waking life becomes disrupted as if being continuously woken from sleepwalking. False memories evolve and merge into true ones. In this series of paintings the mixture of delusions and memories are revisited and picked off like a scab ready to heal again.
Email contact:
Richard Page
title: New photographic work (2003 - 2005)
Richard Page's new photographic work presents cinematically luminescent lightboxes. The shallow focus in these images lends these spaces the appearance of a model, reflecting the artificiality of the non-places that Page explores. These images reflect an uncanny quality in which familiar territories become unfamiliar and deeply troubling. Withholding specific narratives, but using a visual rhetoric from cinema, each image presents an evocative mise-en-scène to motivate a play between reality and fiction. These images set a stage for disconcerting psychological dramas in which the viewer becomes implicated. Each presents a sort of déjà vu; narratives and places we have seen before but can't quite recall. Richard Page is a Cardiff based photographic artist and recipient of the prestigious Jerwood Photography Award in 2004. Richard completed his MA at the University of Westminster, London in 2003 and his work has been exhibited throughout Britain and abroad, including shows in London, Cardiff and Germany. Richard lectures in photography at Swansea Institute of Higher Education. Suburban Exposures is currently part of the Jerwood Photography Award 2004 touring exhibition, currently at The Cooper Art Gallery in Dundee.
Works exhibited;
Zone II, 2004. Lamda Duratrans Print in Lightbox, 100 x 125cm.
Blind Site, 2003 (Diptych). 2 x Fujitrans Print in Lightbox , (2 x) 70 x 90cm.
Suburban Exposure I, 2003. Fujitrans Print in Lightbox, 48 x 60cm.
The Wrong Location, 2005, Fujitrans Print in Lightbox, 70 x 120cm.
Email contact: info@richardpage.net
Website: www.richardpage.net
Sara Rees & David Rees
Time Lost, Time Regained
Video 2005 You ask my thoughts through the long night? I spent it listening to the heavy rain beating against the windows. - Izumi Shikubu The first collaboration between brother and sister David and Sara Rees, 'Time Lost, Time Regained' is based on David’s experience of suffering from ‘schizophrenia’ for the past 10 years. Made abject not only by suffering but by pathology and subsequent treatment, in such a situation an individual may endure ‘a dark night of the soul’. Paradoxically, it is perhaps only in the solitude of this darkness that the light of the soul can emerge. This work presents one man’s journey through a long night - his endurance, survival, and eventual hard-won freedom.
email contact: reessara@hotmail.com
James Richards & Kim Fielding
title: 'Is This Love?'
Is a slowly moving video, showing a young pugilist as a tragic figure struggling to continue. The imagery is ambiguous ... is this a tortured hostage, a person in spiritual rapture or sexual ecstasy?
Dictated by the limits of the bodily experience 'Is this Love?' follows the theme of the body as a constructed image, it's, 'still moving' imagery engages the viewer with the beauty of the subject; evocative and erotic, the distance between audience and subject made intimate by the dialogue between 'photographer' and 'model' it's a dialogue that can often struggle Looking @ issues of absence and loss & preconceived notions of masculinity...
'Is this Love?' [When presented in Dresden] filled an entire wall in a private room. The 'figurehead' many times life size, raised hauntingly familiar memories for several sections of the Dresden audience. Although the piece is stamped with an Islamic soundtrack, the older Germans in the audience saw connotations of the Holocaust and remembered fears from the retribution from allied forces that left their city in tatters.
' Is This Love?'
NEEDS a single DVD setup [player & projector] with sound facilities plus a decent sized wall in a darkened room...[Dis] Productions Artists are...
James Richards, currently studying @ Chelsea School of Art, London and having presented his first sound only piece @ Tate Britain will commence a 2 months internship in film @ NYC's Millennium Archive in Aug'05... back in time for Experimentica05. James invariably dissects his subject with the edge of a cutthroat razor using sight and sound, placement and intellectualized political stance as his 'stock in trade'+
Kim Fielding: An MA Fine Art graduate from UWIC, who, while based in Cardiff after a 10 year 'sabbatical' in NYC, continues to exhibit internationally as well as curating multimedia projects both here and abroad under the guise of instictator of the wiley tactileBOSCH Studio in Cardff [www.tactilebosch.org]
Kim's work, though often dictated by the limits of the bodily experience, debunks pre-conceived notions of masculinity, kitsch and authenticity. Irrespective of framing, moral judgment and geography is aiming to stretch the boundaries of 'through the lens media' till the rubber band snaps.
Kim Fielding/James Richards 2005
'Is this Love?
Email contact: kim@tactilebosch.org
Email contact: jamesrichards83@hotmail.com
Coralee Lin Rose
The current series is a continuation of earlier works that used the interaction between artist and viewer to explore social roles – both those taken on ‘voluntarily’ and those assigned to us by social forces that we are largely unaware of. By using the performance piece, video, or photographic image to bring these roles into sharper relief, I was able to induce a level of discomfort in the viewer that ultimately had a revelatory effect. The new series also uses images, in a rawer form, that explore a greater range of roles – specifically those distinguishing between creator, editor, and viewer, as well as complex issues involving spheres of control, social taboo, and gender roles.
Email contact: coraleelynnrose@hotmail.com
Abby Sohn
"Llewellyn Gulch"
While working as a Conservation Officer at the National Mining Museum at Big Pit, I became inspired by the mechanical functions and history of a breathing apparatus used to save lives during the Senghenydd mine disaster in 1913. Having abstracted the original form of the object I have related the machine to the human body and the self.
In my installation both 'non-hides' independently share the space, bisecting the room to form an intimate and narrow yet continuously open center. The contours nestle and link within one another, however never touch. The networks of wires invite the viewer into the space underneath the skin. The suspended "non-hides" are stitched together using found upholstery scraps. In the field of conservation, fragments hold important information about an object. Here I have used the fragment to help dictate the form of the object.
The title, "Llewellyn Gulch", is named after one of the many hidden canyons found along the Escalante River in the American Southwest. A gulch or otherwise known as a slot canyon has vertical walls that can be hundreds of feet deep but only a few feet wide. The walls are mainly comprised of red Navajo sandstone that has been sculpted by the river over time to form narrow passageways. The name of the gulch documents the Welsh Mormon Settlement and mining immigrants to the area in the late 1800's.
Contact: abbyhsohn@hotmail.com
Kim Simons
title: Proposal for 'Coagulation.'
Brief Description of my practice.
I am primarily interested in the use of observation and surveillance in today's society, with the basis of the work existing within the live performance. Previous pieces have focused on the play between the observing audience and myself the observed object. By placing my body, partially hidden within the sculpture and then placing this within a public setting, such as the gallery I am actively becoming part of the object. Here my activity becomes alive.
Proposal.
My proposal for coagulation at Tactile Bosch would involve the development of two earlier pieces 'Set I; You and I' and 'Set II.' Before the performance has centered on the already built and developed object in which I have been partially hidden, either between the floors and cavities of the deconstructed house or beneath the public benches set within the foyer of the gallery. Here I would like the opportunity to base the work around the building and construction of my hidden space. I would like to build a wooden floor over the top of my body, trapping myself between the existing floor at Tactile Bosch and the wooden stage above me. By placing lengths of wood at 90 degrees parallel to my frame and the length and width of my personal dimensions, I intend to fabricate a substantial structure that fully surrounds my form. This would be carried out, as a durational piece with all materials that are needed being at hand and situated within my site at the beginning of the performance. I would build starting at my feet and slowly working up the length of my body therefore concealing my head and arms last, in turn slowly burying myself beneath. Only hand tools would be used and all lengths of floorboard would be at the correct lengths before the piece began. It is important that this piece is situated within a public walkway or entrance so that the audience are forced to interact like before by having to step around and over me as I work. Once again creating an active space, a stage on which the interaction between the participants, the audience and myself occurs. This would be a durational work, where the first stage consisted of the physical labour and the second stage the concealment within the structure. I would plan to stay concealed for a substantial time, so that the audience engaged with me at two different levels.
Email contact: kimothysimons@hotmail.com.
Alyson Simpkins & Tom Belton
title: PARADISE
Old Persian. pairidaeza enclosure, park, French. pairi around + diz to mould, form; Armenian pardez, Hebrew pardes. Used in Greek for a (Persian) enclosed park, orchard or pleasure ground. "Paradise haunts gardens and some gardens are paradises." Derek Jarman Inspired by this quotation we have embarked on a durational experiment in film, video, sound and site generated landscape to see if paradise can exist on a derelict city plot. Images and sounds are being recorded and projected back onto the site at intervals through it's growth and change. In discussion with Architect and Environmental Psychologist Michael Pearson, we explored the possible impact of such actions. In response he wrote, "Current theoretical developments which address the concepts of space and place can provide us with solutions to 'real world' problems. Practical implementation, sustainable maintenance and regeneration of sites should be explored and intergrated within any resolution of environmental blight. With particular relevance to this proposal the exploration of place through a range of transactions, conceptions and cognitions by means of community participation and use, facilitated, interpreted and expressed by the artist can only be central to any understanding and resolution of the dilemma posed by the fate of space and place." To be continued.....
Email contact: morefront@hotmail.co.uk
Liz Waterhouse
title:
Waiting text