Sunday, 26 August 2012

STRATUM







This proposed work recalls and departs from the previous work that the artist has executed in May 2011 as part of a collaboration entitled ‘Cyclical’ http://www.josephcalleja.co.uk/cyclical. It will also inform a series of works that the artist is currently proposing the the National Museum of Fine Arts, Valletta which will explore the idea of skin - the idea of it being a barrier between two entities.

Using impermanent pigment, the artist has made a painting informed by the sea as documented just off the island of Comino. Then this painting will be submerged into Kamo river accross from Weissraum where the left marks will document the distinction between something that looks like water and water itself. 

The way this concept is executed is quite poetic and the process itself echoes Japanese attention to the ephemeral happenings of life, elevating them to ethereal levels.




painting hanging in gallery



painting taken down and submerged in Kamo river for 1 min




painting hanging in gallery again with remaining paint fragments falling apart by the effect of river water

Wednesday, 22 August 2012

STRATUM





For this show in Weissraum, the artist is adapting four of his latest works to reflect on his practice and the questions his work is inducing him to ask. Influenced by his recent trip to Japan, from Tokyo to Megijima, and especially the Japanese people, his attention focuses on how things become embedded within a person or a nation. The relationship between how things appear and what things are has emerged as key in the artist’s research and this exhibition and residency in Japan will further that enquiry. Being close to Robert Callender’s practice, giving attention to the objects he observed and objects that he made, is providing the artist with the opportunity to witness how such concepts already exist in solid art works. This exhibition marks the starting point of the artist's residency in Osaka, for which new work will be created as part of the artist's stay there. This work will be exhibited as part of a collective at the end of September and shown again in Kyoto in October.

Wednesday, 25 July 2012

oG|APPROACHING



I am going to send you away of my own free will; so go, cut some beams of wood, and make yourself a large raft with an upper deck that it may carry you safely over the sea

oG|APPROACHING



Forthwith he bound on his glittering golden sandals with which he could fly like the wind over land and sea. He took the wand with which he seals men's eyes in sleep or wakes them just as he pleases, and flew holding it in his hand over Pieria; then he swooped down through the firmament till he reached the level of the sea, whose waves he skimmed like a cormorant that flies fishing every hole and corner of the ocean, and drenching its thick plumage in the spray. He flew and flew over many a weary wave, but when at last he got to the island which was his journey's end, he left the sea and went on by land till he came to the cave where...

Monday, 16 July 2012

COLLECTIONSIMONPAUL|4



Cornelia Parker | Hot Poker
Laser cut archival inkjet print on Hanhemühle photo rag 308 gsm
paper edition 50/50
Signed by the artist

Sunday, 24 June 2012

Wednesday, 13 June 2012

COLLECTIONSIMONPAUL|3


Peter Liversidge: Proposals for the Scottish National Gallery of Modern Art

Peter Liversidge

paperback book, published by Ingleby Gallery (2010)





Peter Liversidge: Ingleby Proposals

Peter Liversidge

paperback book, published by Ingleby Gallery (2010)





GHIDLIMAMIN...


Thursday, 2 February 2012

Tuesday, 31 January 2012

WHATWASILOOKINGAT

Visuals with translucent quality and depth inform my current practice which takes form in drawing, painting, sculpture, photography and more recently installation. With sources ranging from sedimentary rock to car dumps, rust reclamation to curvatures in ecclesiastical architecture, retail window displays to marine photography, the subject matter becomes important with regard to the human presence framed in these physical places bound by the reality of space and time. Hence I consider my enquiries to be more of a metaphysical nature.

June 2010

Sunday, 22 January 2012

HOLDENONTHEROOF


Ideas about collaboration with Holden on the Roof, drawing on 'the pixel is worthy of the gods', a project I have started working on last year. Further work to follow responding to new tracks Holden on the roof are currently working on.

Monday, 9 January 2012

467278937





Libera Me - the cry of the horcrux 
mixed media on canvas
2008

Wednesday, 4 January 2012

ULMUSPARVIFOLIA


2012, for me starts with a few plants. I am not questioning the fascination, and definitely I will not label it as obsession. More than the fascination with these living organisms that require my attention, it is fascination itself that interests me. I seem to have lost it in 2011, due to several reasons. I will do my best to revive whatever it is that lay dormant last year or almost died while i abide by a couple of thoughts that have been lingering lately. Day by day... like these plants almost.

Saturday, 10 December 2011

OD–4.75–2.00x175OS–5.25–2.25x2

With blurred vision, I strain to see. Seeing with glasses I gaze away, bypassing to ignore.

Friday, 9 December 2011

OD–4.75–2.00x175OS–5.25–2.25x2

Just realised how easy it is for me if i wanted to withhold the truth about something or even telling a lie without detecting. I think it happens more because of the lack of direct contactwith the other person even if there seems to be one, but really at the end in this state I'm looking at you does not mean I am reacting to you because I can't.

OD–4.75–2.00x175OS–5.25–2.25x2

Thinking about it, I feel that this exercise is not replicable, ore better saying that there are other things at play beyond my precise deficiency: such as my character, outlook, naturalractions and other elements that to some extent vision has shaped in my history. Vision not as how clear or less i am able to see things but how i perceive things: culturally, physically those of the spirit world and those of psychological nature.

Living in the present is something that always evaes me and accpetance is one of the hardest of simple things i struggle with, because it does not require any physical motion but it takes thinking a priori of things that seem to be in act rahter than potency. it is not my aim to indoctirante or even inform as much as to trigger maybe a thought or an idea in those to whom it appeals.

The second brief feeling today wehn my eyues got really tired that it felt like i had lenses on and i found myself rubbing them to remove that plastic sheen inorder to let my eyes breathe, but this is more strange than looking for my glasses because I very rarely wear lenses. I suppose it is the most familiar thing that I experienced (lenses) during the same time of not having the weihgt of the frame posing on my face.

Thursday, 8 December 2011

OD–4.75–2.00x175OS–5.25–2.25x2

Out of all things sitting at a computer is the worst without my specs... I am off to work now soon, I am afraid i have to take my spare old glasses with me in my old bag. If something happens on work i cannot afford to be in the haze, but I will do my best to stick to the task! Tomorrow is going to be harder if I am to go through what is required of me during the day!

OD–4.75–2.00x175OS–5.25–2.25x2






Installation of my glasses in INSPACE for 3 days

OD–4.75–2.00x175OS–5.25–2.25x2

I suppose having too much happening when in this state is as bewildering as much as having nothing much on either. It goes to from noticing how much i would have enjoyed lunch much more if i could see it beforehand to having to decide how to juggle the weekend with a possibility of skipping the conference having to travel by train,,, possibly...also being called onto night duty tonight. not sure...

It was very tempting today to fetch my old crappy specs to get some results when looking for something or just even keep them with me just in case i am i end up in a messy situation...

a couple of friends phoned me to wish happy birthday today, it was interesting how i noticed that during these phonecalls it did nto seem so muchh importnat that i could not see clearly and i am starting to nnitice which muscles in my face realax when im not squinting my eyes trying to focus on somehting.

By the sounds of it, never has been a more appropriate expression.

OD–4.75–2.00x175OS–5.25–2.25x2

I keep on trying to look for somehting that i cannot see

OD–4.75–2.00x175OS–5.25–2.25x2

It is not that without my glasses I am realising new things. It is more how my thoughts project and bounce back into my head, htere is this kindof veil that slows things down. I was thinking more about Rosalie s work this morning and yesterday, in re to the phantom limb or the extended body. M y vision felt clerest ths morning as i woke up. i am not sure if that is because at that stage my eyes are most rested or it is habitual to experience the workd like that. but instinctively after my shower I tried to reach for my glasses at several times, and yesterday i tried to adjust my glasses several times while I was not wearing any.

Wednesday, 7 December 2011

OD–4.75–2.00x175OS–5.25–2.25x2

It is almost the end of the first conference day. I missed the last talk becasue i ahd to go and buy led lights for my piece. I fel quite dismayed i jsut stuck the  lights on the side quite in an arbitrary fashion. very much in a way that clashes with the pristine inspace. Anyway, i am not blaming that becasue i am not wearing glasses, but it is because of recurring attitude. wehn i am feeling  that i have to rush something becuase i am in an awkward position, I think that awkward is one riht adjective to apply to my current state..I found the confernerce quite interesting but as well quite hard to follow because of low concentration level. Assimilating all the point of viewws today and making them my own would be a good goal, however... I am kept wondering what is the value n all this. Why this performance, or i shluld like to stop calling it that, my art. I was thinking of using these three days to reflect in my practice, I feel at a loss at the moment what i am looking at not literally, but in my art. Previously my statement was that from sedimentary rock to ecclesiastical architecture to otehr things, i am interested not in subject matter of these visuals, but how these spaces frame the human presence and more importnatny the human  choices made wihting these frameworks, and the repercussions following,. I have labelled myself in my undergrad as a visual artist. and i insisted that because through my research and interest was based on the study of visuals, ant their interpretation, before the context took over my work in my degree show piece and i decided to focus on site specificity within my studies..

I am hoping that by doint this exercise, something will come out of it, in terms of either rreducing the familiarity and explore oaher sources of perception.

It almost feels siilar to waht one would do in doing the desert experience, in spiritual terms.  Instead of removing myself from my environment by taking my whole self out of the equasion i just removed one little tool. IT feels lie q quite persoanl poiece this work, in the sense i do not think it would have much effect if my vision was much better and removing my glasses and i could almost see the same. on the other hand if my vision was much worse i would not have been able to find my way about and exploring the other points.

It is not like i would have altered my vision by putting somehting on, (like when i gave my glases to some people wihtin the conference when they asked how bad was my eyesight) but it is my natural vision that I am working with.  Going to be 30 tomorrow, makes this event a bit more important for me. it is a kind of rite of passage, i do not know into what, but it is going to by my first blurry birthday, i had glasses since i was primary 3.

OD–4.75–2.00x175OS–5.25–2.25x2

It is a great feeling that i was looking for in this work - the stage when I stop thinking of it as a performance. When I think of a performance I think of a stage and rehearsal.and those are things that i never wanted to be involved in through this work. For the time being it is hard to gether my thoughts. The sense of vision is still domineering. i think im going to stop trying to correct my typos, half of htem are becuase i can berely see the keyboard or sometimes in case of more complex words i jsut actulaay usually i rely on the machine to keep me right.

OD–4.75–2.00x175OS–5.25–2.25x2

Just started, it feels artiicial and staged. with re questioning self awareness ats much as possivle. best to think about others people uedeas and thouughts. of the conference for the tieme being

OD–4.75–2.00x175OS–5.25–2.25x2

It starts today, although it was lingering on my mind for a bit. Documenting observations and thoughts on here... it is hard not to edit, for what purpose though! It feels almost like doing a self portrait. Laura Cumming suggested that the self portrait might be a truest kind of portrait, even if it idealised or controlled by how the artist wants him/herself perceived. But even the fact of omitting something would tell more about that person than having the thing itself represented. I am not sure as to what time I will be removing my glasses, there is a couple of things i really need to do before I relinquish them on the plinth, like shaving my overgrown beard.

OD–4.75–2.00x175OS–5.25–2.25x2

From C. Classen’s 2011 article ‘Green Pleasures’, this work reflects on the intrinsic positive values attributed to each sense: to see, to hear, to smell, to touch, to taste, versus the state of detachment and passivity that the domineering sense of sight might have shaped within contemporary culture. OD – 4.75 – 2.00 x 175 OS – 5.25 – 2.25 x 2 delineates a personal deficiency that will be at the heart of the artist’s proposal for the duration of the conference. The proposed performance centred installation will attempt to make the sense of sight less detached from the rest of the senses, not by completely disregarding it but by letting it exist in its natural astigmatic form. The artists thoughts and observations for the duration of the whole project will be collated in this blog

OD–4.75–2.00x175OS–5.25–2.25x2

This is a link to the programme of Sensory Worlds conference.  The list of installations can be found on page 26.

http://dl.dropbox.com/u/28976322/SensoryWorldsProgramme-1.pdf

Saturday, 5 November 2011

TGHID?


I love this structure almost as much I used to hate it. I love this photo in spite of knowing how tarted up and fake it is. I love the place inasmuch as it holds on the delicate balance and trembles upon what fate shall shape it. I like the ways in which this photo epitomises several spheres of human life as I see it.

Tuesday, 1 November 2011

THEEMANCIPATEDSPECTATOR

Artists, like researchers, build the stage where the manifestation and the effect of their competences become dubious as they frame the story of a new adventure in a new idiom. The effect of the idiom cannot be anticipated. It calls for spectators who are active interpreters, who render their own translation, who appropriate the story for themselves, and who ulti- mately make their own story out of it.


Jacques Rancière

Monday, 5 September 2011

CUPARARTSFESTIVAL2011


Lumen

Lumen, which can both refer to a central space of a biological vessel such as an artery, or to the measurement of the power of light perceived by the eye, becomes an appropriate title for this outdoor work that can only take shape upon the movement of the viewer through the close and the power of the sunlight. Created from work by local schoolchildren at CastlehillPrimary School, who were asked to make drawings or writings in response to what makes Cupar special to them, this artwork is drawn directly onto the walls of the close leading to the courtyard of the old school on Millgate in light- sensitive transparent ink. Solar-powered lights installed in the close will gradually reveal the invisible drawings as viewers move in and out of the passageway, creating a sense of purpose during the journey and a space for refelection. An associated exhibition of the children’s drawings can be found at Cupar YMCA.

77CLOSINGDOWNEVENTSOLARPAVILIONST.ANDREW'SSQUAREEDINBURGH