I've just written a blog post for the Open College of the Arts https://weareoca.com/education/ijade-2017-art-design-agent-change/ This leads on from my presentation at the iJade 2017 conference in Dublin and condenses my research into distance learning at the OCA. My paper requires more focused research and a collegiate response from my fellow programme leaders at the OCA, but I hope to complete it in the next couple of months. Incidentally, it's the 30th anniversary of the OCA next year and I'm looking forward to tieing my research up with this celebration of Michael Young's vision.
I’ve just been to see Bruce Parry’s documentary film Tawai @PloughArts and wanted to share my thoughts. I was lucky enough to go on an expedition to Borneo with Bruce in 1995. It was both a quest for adventure and ecological expedition, to set up infrastructure in advance of scientists who were coming to gather data on the rainforest. In particular, the area of Kalimantan we were centred in was predominantly made up of Mangrove’s, where the interconnections between water, trees and the rest of the world was and still is delicately balanced.
Tawai, is very matter of fact about the harsh realities of our world and the impact we’re all having on it. That’s not to say that I feel it was asking us to suffer guilt, but to instead consider our place in the world and question if each of us is present in the here and now. Why is the here and now important? Well, only though being aware of ourselves, mindfulness as Parry learns, can we begin to question our lives and the interconnections that stem from over here all the way to a quiet nomadic people in Borneo.
A meeting with Iain McGilchrist, writer of ‘The Master and his Emissary: the divided brain and the Making of the Western World’, presents scientific evidence for our modern preoccupation with reason over intuition. More engagement, as McGilchrist puts it, with the right side or our brains, allowing for a worldlier view, would help us to be more mindful of the whole rather than the finite.
This is a stunning film that everyone should see, not because it's relevant today, but necessary as part of our long term individual development.
There’s something about the process of thinking and making that closely aligns monoprinting with sculpture. Perhaps it’s my approach to materials and a desire to explore their possibilities that has led me down this path. Printing in general leans towards an engagement with; surface, body-action, haptic, movement, materiality and the animated. Harnessing these inherent qualities that are born out of the processes within the print studio is a key to crossing between the sculptural and print world. For example, the application of ink to a material, rolling and compressing this onto the paper through the repetitive motion of turning the giant press wheel, conceptually imbeds the work with the performance of making. Just as that physical engagement with materials transfers directly into three-dimensions. So, my prints move more and more towards a gesture of formations, the matter forming out of these surface casts.
A recent outing to London, with a long-time artist friend, gave me a chance to catch up on some new opulent galleries in the West End and a couple of excellent private views. Highlights included the excellent new Bruce Nauman artist room at the Tate Modern. I had forgotten just how cutting his work is, both repelling and reeling you in at the same time. The retrospective show of Fahrelnissa Zeid did give an insight into an artist I had no knowledge of. It was, in some part, an attempt to give this lesser known artist more prominence. I did feel that there was probably only a couple of paintings in the show that really stood out, perhaps this was because of her esoteric creative approach over her lifetime. Rachel Whiteread’s cannon of work at Tate Britain was very enjoyable. Not all of it worked, some material choices are highlighted as unsuccessful when grouped together like this, in particular a crystal-clear resin cast of a dolls house is just too much like a fox’s glacier mint. Perhaps using glass would move the material away from a sense of approximation.
The West End has seemed to go through a new era of colonisation by the big contemporary galleries. When I was doing my postgraduate at the Royal Academy in the early noughties the centre of the London art world was in Cork Street, it then moved to the East End with the advent of new gallery spaces from Modern Art, White Cube and Victoria Miro, and now its back in the West End with huge enterprises vying for space. I didn’t leave London that long ago but it did feel like I had returned to some new dimension, where galleries aren’t content with one modest space but huge opulent imaginings reflecting their inner desires.
Galerie Thaddaeus Ropac topped the list for sheer opulence, it’s not the biggest but the restoration and quality of the building really felt like I was in a movie set. I always enjoy the work of Robert Longo and this space was perfect for his hyper-real commentaries. Other highlights included Lucas Arruda at David Zwirner, Thomas Schutte at Frith Street Gallery and Hernan Bas at Victoria Miro.
A final note on the work of Assunta Abdel Azim Mohamed whose PV I went to at Danielle Arnaud Gallery, curated by David Lillington. Her excellent drawings looked at me in a literal sense, as the many characters engaged, almost involving me in the theatre of their place. This aspect did work perfectly with the gallery, a more real taste and smell complimented the works that perhaps a large white cube might have washed away.
Images Doug Burton from top left: 1 Robert Longo, 2 Galerie Thaddeus Ropac, 3 Bruce Nauman, 4 Rachel Whiteread, 5 Thomas Schutte, 6 Hernan Bas, 7-8 Lucas Arruda, 9-12 Assunta Abdel Azim Mohamed
Just completed these formation prints that are a start of a new series of works.
Have got a couple of days to finish off some research and develop new ideas to take into mono print.
New Gouache drawings 2017 in progress.