linder @ the Hepworth

This exhibition ends this weekend at The Hepworth. I've been down twice to see it.

 'Linder (b 1954, Liverpool, UK) has been working with the principles of collage for over 3 decades: from her 2D work on the late 1970's iconic Buzzcocks posters and record sleeves, to more recent collages presented in light boxes.'

Being of that particular age, and 'demographic'! I was interested to discover Linder's work again, after seeing her record covers from the 1970's. At first I didn't make the connection, as these collages on show at the Hepworth have seemingly very little in common with those punk, D-I-Y collages. Her current work is big, glossy, full technicolour, presented in light-boxes. They look more like expensive perfume ads than punk collages. 
Lots of ballerinas, and natural forms such as shells, and animals. Some of them look at bit randomly composed. Others have an internal structure to them; the curves and forms of the nature objects, echo and emphasise the human forms.
I actually liked the old-fashioned photos of the dancers; going into the darkened room where these light-boxes were on display was like going back into the imagery of the 1950's, with added 21st Century technology!  

'rust never sleeps'

Yesterday was a day encompassing the sublime and the ridiculous. Starting with the ridiculous, when I left the keys in Blanche's ignition (with engine running) got out to open some gates, to park up, and the door shut, and locked me out.....utter panic. Luckily, brother Rob was meeting me, so we raced to my house (yes, leaving Blanche parked up, with engine running!) to get my spare van key.
Well, the complication was that my bag was in Blanche, complete with house keys.....where the van keys were. So, I prayed and prayed that my neighbour Jackie was home, who has a spare set of house keys. She was; so all ended up happy ever after.

The sublime was going down to the Hepworth for a showing of a woman's film, shown on International Women's Day.
It was a performance of Linder (currently exhibiting a selection of her collages) with her band at the Hacienda in 1982. She was dressed in a bodice with stitched on meat (Lady Gaga is apparently a fan of Linder's), and when she turned round to face the audience, had a fastened-on dildo. In 1982 it was stunning; in the 21st Century it's pretty 'everyday'. Shows the ubiquity of sexualisation these days. Hmmmm. It takes a trip down memory lane, to realise how what was once 'explicit', has gone mainstream. You see these kind of images on adverts, and fashion shoots.
Linder describes herself as a feminist. And I'm taken back to all those debates we had where we questioned if using the images of pornography within a feminist context, made them any less oppressive of women.

And above is another rust print. Rust never sleeps, sings Neil Young. Maybe not, but you can sure get some inneresting prints from it, Neil!  

Richard Long @ The Hepworth Wakefield

Two of Long's characteristic circles.

The top one is titled, 'Cornish Slate Ellipse' from 2009. It's as it describes itself, an ellipse shape, rather than a pure circle. The slate is grey with very smooth tops, and people with me said the blocks looked painted. It had the look of a raft, with slats of wood lashed together, or field patterns, seen from high above.

 The circle above, is titled, 'Blaenau Ffestiniog Circle' from 2011. This has lots of colours in the slate, which is sharp-edged, and spikey. Perpendicular, as opposed to horizontal. Colours included black, greys, browns, ochres. These slate pieces come from Wales. It echoes the mountains of Snowdonia, and the Welsh landscape.

Chun Quoit 2

This is the drawing I did at the Hepworth a couple of weeks ago. It's of a sculpture that Barbara Hepworth made. It's a small drawing, in an A5 sketchbook.
The sculpture was titled after the neolithic tomb, that I drew in situ when I visited Cornwall.
It was good to see the sculpture, after knowing about its' existence for years!

Chun Quoit

The pencil drawing I made of Chun Quoit in Cornwall. 
This is an A1 version I did, after the smaller sketch I made in situ. 
It's a passage grave that Barbara Hepworth used as inspiration for one of her sculptures, which is on show at The Hepworth Wakefield.
When I went to the Hepworth on Sunday, I did a small pencil sketch of the sculpture. 
The sculture is nothing like the real Chun. It's smooth, and upright, with an incised circle drawn into it. The stones of the passage grave are heavy, rough, and marked, though not by any workings that can be seen. Though I'm sure the stones were worked in some way.
As I wasn't allowed to take photos, I can't put up an image of the real sculpture.

The Hepworth, Wakefield

Today I visited the Hepworth gallery, in Wakefield.
I wanted to do some sketches of Hepworth's stringed sculptures, as I'm planning a 'clay & string' project for a group I work with. I also did a sketch of Hepworth's bronze 'Single Form (Chun Quoit)' from 1961.
I visited Cornwall when I was studying for my M.A. and I did a drawing of the neolithic tomb Chun Quoit near St. Just. This was later exhibited in an exhibition I held at the cafe in Wakefield Theatre, as well as being shown in Doncaster Art Gallery. 

Behind this Hepworth sculpture, to the left, is Chantry Chapel; the spires just pointing into the sky. 

The River Calder, flowing over the weir outside of the Hepworth, here seen from the medieval bridge where the Chantry Chapel stands. The sun was bright, playing on the surface of the water, turning it to pewter.

'Spem In Alium'

Yesterday I went to see Thomas Tallis' 'Spem In Alium', sung by Leeds University Liturgical Choir.
It was wonderful. 
I love acapella music; the sound of voices unaccompanied by instruments is beautiful. The singers stood down each side of the Hall, and along the front, and we were inside the music. A very magical experience. It was one of those 'hairs-standing-on-the-back-of your-neck' experiences!
I thought this sky fitted the post; the sun setting viewed from the Hepworth, Wakefield. 

Wiltshire; Avebury; 2011

When I went to Avebury last October, I took this photo of a couple of the stones. I had to take a photograph of the stone on the left; it just looked like the face of a sheep, seen from the side!
As I'm busy thinking and dreaming about felt (!) because of this course I'm doing, I thought this image fitted rather well here.


When I went to The Hepworth last week to hear Clare Woods 'In Conversation', I was interested to hear she was a big fan of Paul Nash, John Piper, Graham Sutherland, Barbara Hepworth. Though not surprised, as she had curated a mini-exhibition of a selection of their work in one of the rooms of The Hepworth at the entrance of her exhibition.
When I saw the exhibition, I was really pleased to see the work in that small room; I've had a particular interest in such artists since I was an art student back in the 1980's. There's something about their concern with landscape in the shadow of WW2; almost a sense of what might be lost. Clare Woods articulated that this fear may have a similar resonance at the moment, with the economic 'austerity' we face, and current ecological worries.....though to be fair, there have been ecological anxieties at least since the 1960's, that I'm aware of....and they probably go back further that that.
    

Talks and ArtWalks

I gave a talk at Chantry Chapel last Monday, 21st November, based on my M.A. dissertation. Called 'The Sacred Landscape', it explored the influence of the landscape upon twentieth, and twenty-first century artists; including Barbara Hepworth, Paul Nash, Chris Drury, Aaron Watson, Berenice Henson et al.

I'm just reading a book about John Piper, and realised I missed him out of my research completely!

I've put some work into the exhibition of resident artists work at Westgate Studios for the next Artwalk on November 30th November 2011.

ArtyVan (8)

The bunting was out; the art was on display; Jon baked cake; Pauline brought delicious cheese scones! And the weather stayed gorgeous!
The grounds of Westgate Chapel were the perfect place to sit out and enjoy the day when The Hepworth Wakefield opened its doors to the public. We celebrated in fine style.

Some art work on display in the rear of Blanche.

And when it was all over, we retired to 'The Prince Albert', up at Westgate Studios, where we had a pint of lovely 'Masterpiece' beer, brewed especially for the Hepworth's opening by Ossett Brewery. There was an installation in the Project Space, and Vicky (pictured above) had a high old time examining the gloss-paint filled plastic that hung from the ceiling.

ArtyVan (7)

A bronze from Hepworth's studio in St. Ives.
When I first saw this, on my first visit to Hepworth's studio/museum, I finally 'got' her work. It is very explicit in its referencing of neolithic stones, and ancient landscapes.
I'd been visiting many stone circles, and standing stones throughout the British Isles before I saw this bronze. So I looked at it and it was 'boom'...I understood! This was the reason I re-visited St. Ives in 2005, while I was in the process of writing my M.A. dissertation. Hepworth's work needed to be included, because the influence of the land was integral to her work.
My dissertation was about the Land, and artists who worked within it (Land Artists) or who were influenced by it.
And tomorrow, the Hepworth will finally open its doors. It's wonderful that finally there is an art gallery that is named for a female artist. And she came from Wakefield!

ArtyVan (5)

Here's a photograph of Blanche, my campervan, that I took in the grounds of Westgate Chapel yesterday. It's been put through a few of the filters on photoshop, which is why it has a rather scruffy, silvery, blotchy look! It makes a change from the usual photographic images though; and I wanted Blanche to get her photo on the blog!
I e.mailed Kate some information about myself, for her to send out in some publicity. She took lots of photos! I'm not that keen on having my photograph taken, so I felt a bit awkward. Perhaps I should have put Kate's photos through photoshop, so I emerged scruffy and blotchy if not silvery!

ArtyVan (4)

Another Hepworth sculpture from her studio in St.Ives.

Got to Chapel today and Kate took some photos; and I took some photos of Blanche, my VW campervan. I completed the textiles I'm exhibiting there on Saturday, so that's a relief.

A bit of tinkering to complete the birdbox, and everything is ready!

ArtyVan (3)

I'm away to the Chapel tomorrow, to meet with Kate Taylor, the Chapel Secretary. She wants to take some photos of Blanche, my VW van. So my task tonight (!) is to create a nameplate, reading 'ArtyVan'! Eventually I want one made of fabric; but just for now, I think it will have to be paper.
We went uptown today, and looked out to buy some bunting. Most of the shops we went in, had staff who had never heard of 'bunting'. I had imagined that the country was awash in unwanted bunting after the royal wedding last month, but I was obviously wrong.
In case I don't get the chance to make up some bunting before next Saturday, I purchased, from a poundshop, a 'camping-washing-line' complete with pegs! That, as they say, will do nicely!

And here's a photo of Barbara Hepworth's studio in St.Ives from when I was there in 2005. I was researching my M.A. dissertation, which covered artists and their relationship with the Land, and included Hepworth. It will be fascinating to see the artefacts on show in the new Hepworth Gallery, donated by her family. Her studio in St. Ives, looks as though Hepworth has just stepped out for a moment. It's very evocative.

ArtyVan (2)

I'm still on with the textile work for the Hepworth Opening Artwalk. Luckily I'm near the end of the process, rather than the beginning....which is lucky, as I've only got just over a week to go! It kind of hit me last night; and I'm now making 'lists' of what I need to do, to get organised. I finally got round to e.mailing round. It had simply not sunk into my head that I needed to get the information out! Doh!

I still haven't processed the visit to London last week, when I went to Tate Britain to see the Susan Hiller exhibition. The catalogue sits on the sofa; I'm refusing to put it onto the bookcase yet, until I've had a thorough look at it. But I'm just too busy at the moment. It will be my 'treat' for after the 21st of May! Then I shall immerse myself in 'HillerWorld' again. Plus I was able to get a wondrous book about Paul Nash, and one about Samuel Palmer, of whom I know very little, except his influence upon artists such as Nash. So much to look at, so little time! I wonder if it's better to be an art historian, rather than an artist? That way, you can justifiably spend your time looking, and not concern yourself with the time it takes away from the making?
I feel the last couple of months have been so full of inspiration; the film of the Cave Art in France; the Spero exhibition; the Hiller show; plus all the catalogues and books I've got to look at.
And of course, the work I've been concentrating on making. Though I don't feel I've had enough time for that recently.

ArtyVan

Westgate Unitarian Chapel, Westgate, Wakefield.

On Saturday 21st May, 2011,

11am - 4pm

To celebrate the official opening of the Hepworth Wakefield, I will be exhibiting a small selection of my smallest work, in the smallest exhibition space in Wakefield.

My T4 VW campervan, Blanche!
I look forward to seeing you, for drinks, and cakes, in this lovely green oasis in the centre of Wakefield. Take time to relax, and refresh yourself.

See; wakefield-artwalk.fdawebdesignhost.co.uk/blanche-the-t4-vw-campervan-westgate-chapel/

for details

Living Tree Sculptures

As well as being busy with getting ready for the Hepworth Opening weekend, and preparing work for my 'ARTYVAN' exhibition, I'm also in discussion about creating some 'living tree sculptures' to be grown in a wood near Wakefield. First off, we have to collect the Hawthorns that were considered to be a good choice of tree. I've already got some seedlings growing in pots in my garden; but we need to collect lots more!

That's the job for the autumn! Difficult to think about when Summer's not quite here yet! But the dry, sunny weather continues. And the garden is needful of some rain.

Hepworth Opening + Bobbin Holder

A few weeks ago I spent a couple of hours constructing a bobbin holder for my bobbins of sewing cotton (mostly polyester, it has to be said!).
It keeps everything together nicely, though I have more bobbins in a box.

I'm busy with lots of different things at the moment. Trying to get work ready for Saturday 21st May, the weekend when the Hepworth Gallery opens.
I'm putting up some work in the grounds of Westgate Chapel, where I curated an exhibition in May 2010, as part of that month's Artwalk.
This time it will be just me, and I'll be parking up my campervan, Blanche, a Volkswagon T4, which will be the 'gallery'!

In contrast to the Hepworth, which is a huge exhibition space, Blanche is a tiny space; so my exhibition is going to be the smallest exhibition of the weekend!
We'll be offering refreshments, and a chance to sit down and relax in the green oasis in the centre of Wakefield; the Chapel grounds.
Look forward to seeing you there. I'll be 'open' from 11am to 4pm.

Barbara Hepworth 'Mother and Child' 1934

This is the second photograph Julie Clarke took of the Barbara Hepworth sculpture.

Barbara Hepworth 'Mother and Child'

This is a photograph of Barbara Hepworth's sculpture from 1934, entitled 'Mother and Child'. It was taken by fellow studio holder Julie Clarke.

It was installed in Westgate Studios for the last Artwalk, on Wednesday 28th July. We studio holders had the opportunity to go and draw the sculpture, before the Artwalk began at 5pm. The Project Space was empty apart from this single sculpture, and a member of staff from The Hepworth Gallery was on hand at all time, to look after it.

I was particularly intrigued by the reflections onto the acrylic case surrounding the sculpture. I asked Julie to take a photo, as I hadn't thought to take my camera with me. This was one of the results.

The sculpture also cast a reflection onto the inside of the case; it created a black silhouette, and this caught my attention. The sculpture is very rounded, and curvaceous; making it hard to draw. The reflection however, seemed much more angular, and blocky. I was reminded of the Aztec sculptures of goddesses giving birth, squatting on their haunches. Of course Hepworth studied ancient scuptures when she moved to study in London, so I wondered if the images were being called up in my memory, because I had read this about her, or if the reflection really was squarer?

That was the reason I asked Julie to take the photograph. What do you think?