The prints were collographs; done in my home studio; I got them to the Arthouse. Before the final hand-in date. I surprised myself. I did wonder at more than one point, if I was going to make it. But I did.
an artists' view
Showing posts with label The Arthouse. Show all posts
Showing posts with label The Arthouse. Show all posts
Monday, 14 October 2013
20:20 Print Exchange
The prints were collographs; done in my home studio; I got them to the Arthouse. Before the final hand-in date. I surprised myself. I did wonder at more than one point, if I was going to make it. But I did.
Monday, 19 July 2010
Personal Artwork Workshop with Marion Michell and Carrie Scott-Huby
This is a photograph of one of Marion's 'Hairdresses', which were exhibited at The ArtHouse in July 2010.
They're croched out of artificial hair! Tiny little dresses, hanging on show, looking for all the world as though they've been made for fairies to weer.
Very evocative of fairytales.
Personal Artwork with Marion Michell and Carrie Scott-Huby
On Saturday I went to the Arthouse for a workshop with Marion Michell and Carrie Scott-Huby, called 'The Personal Artwork'.
Carrie had brought along some folded and sculpted brown paper 'Mantles', which caused me to think for a few moments.
I'd seen some photos of the Pace Egg plays at Hebden Bridge (?) and been really taken by the cloak/s made for one of the characters to wear. This was made out of strips of newspaper, and it occurred to me then that a coat like that would be fantastic......though I did wonder if it would be very heavy to actually wear!
I decided to use this workshop to make a mantle using strips of newspaper, and some coloured tissue strips mixed in. When I finished, it looked more like a neckpiece as worn by Egyptians, or South American Aztecs! Which also set a lot of thoughts running for me!
It was good to make a piece of work in one session/day, rather than spend days/weeks/months hard at work on a painting or knitting, which is my usual working practise.
There was some lovely objects made by everyone; I did take some photos, so when I get them onto the compooter, I'll try to get them uploaded.
I also took a couple of photos of Marion's croched work which is currently on show in the exhibition space at the Arthouse.
Don't be put off by that sentence. She is very inspired by fairy tales, and personal memories of childhood, and the work reflects these concerns.
She has croched a set of 'Hair Dresses'....say it quickly!....using hair extention pieces from a hair dressers in London. They look very strange, like doll's dresses, hung on the walls. And are very hairy...obviously.
Reminded me of the film 'The Company of Wolves', from the book by Angela Carter, where the very charming wolf says to Red Riding Hood, that 'Some wolves are hairy on the outside, and some are hairy on the inside'; i.e. their wolf-ishness is hidden from sight.
Carrie had brought along some folded and sculpted brown paper 'Mantles', which caused me to think for a few moments.
I'd seen some photos of the Pace Egg plays at Hebden Bridge (?) and been really taken by the cloak/s made for one of the characters to wear. This was made out of strips of newspaper, and it occurred to me then that a coat like that would be fantastic......though I did wonder if it would be very heavy to actually wear!
I decided to use this workshop to make a mantle using strips of newspaper, and some coloured tissue strips mixed in. When I finished, it looked more like a neckpiece as worn by Egyptians, or South American Aztecs! Which also set a lot of thoughts running for me!
It was good to make a piece of work in one session/day, rather than spend days/weeks/months hard at work on a painting or knitting, which is my usual working practise.
There was some lovely objects made by everyone; I did take some photos, so when I get them onto the compooter, I'll try to get them uploaded.
I also took a couple of photos of Marion's croched work which is currently on show in the exhibition space at the Arthouse.
Don't be put off by that sentence. She is very inspired by fairy tales, and personal memories of childhood, and the work reflects these concerns.
She has croched a set of 'Hair Dresses'....say it quickly!....using hair extention pieces from a hair dressers in London. They look very strange, like doll's dresses, hung on the walls. And are very hairy...obviously.
Reminded me of the film 'The Company of Wolves', from the book by Angela Carter, where the very charming wolf says to Red Riding Hood, that 'Some wolves are hairy on the outside, and some are hairy on the inside'; i.e. their wolf-ishness is hidden from sight.
Thursday, 20 May 2010
HYMNAL
One week to go; and most things are sorted!
Just some computer lists to do before next Wednesday now.
The 8 artists are;
Glenis Fergus
Kat Hall
Berenice Henson
Jan Millington
Carrie Scott-Huby
Paula Tod
Shannon Wishon
Madeleine Wuidart
Once the paintings are up, I'll take some photos, and put them up here.
Everyone has been so easy to work with, and been so co-operative. It's been a pleasure to undertake this curator-ship.
The posters are printed on the computer; just got some distribution to do. So far it's been, tiring, but not trying!
It is a lot of work for only one night though! Next time, I'd prefer to have some work that stayed up for a wee bit longer!
Of course, I'll miss out on the exhibition up at Westgate Studios, where I've been involved in a collaboration with some HnD music students from Wakefield College. Unfortunately, I can't be in 2 places at once; so will have to miss out on that.
I'll make sure I get to see it after the Artwalk.
Just some computer lists to do before next Wednesday now.
The 8 artists are;
Glenis Fergus
Kat Hall
Berenice Henson
Jan Millington
Carrie Scott-Huby
Paula Tod
Shannon Wishon
Madeleine Wuidart
Once the paintings are up, I'll take some photos, and put them up here.
Everyone has been so easy to work with, and been so co-operative. It's been a pleasure to undertake this curator-ship.
The posters are printed on the computer; just got some distribution to do. So far it's been, tiring, but not trying!
It is a lot of work for only one night though! Next time, I'd prefer to have some work that stayed up for a wee bit longer!
Of course, I'll miss out on the exhibition up at Westgate Studios, where I've been involved in a collaboration with some HnD music students from Wakefield College. Unfortunately, I can't be in 2 places at once; so will have to miss out on that.
I'll make sure I get to see it after the Artwalk.
Friday, 14 May 2010
Approaching Galleries; Part 1
Part 1
On 27th April I attended a workshop at the Arthouse on 'Approaching Galleries'. Karen from The Cupola Gallery in Sheffield led this, and she gave us lots of practical advice. She runs a commercial gallery, so her suggestions were mostly concerning how to contact this type of gallery. But her comments were just as useful for working with other galleries.
Her main message was to be as professional as possible in your relationships with galleries.
Comments included;
Visit any galleries that you think you'd like to exhibit. Get a feel for the place.
Use the recommendations of other artists.
As a means of making the initial contact with a gallery, write a letter to them. Find out the name of the contact person, and address your letter to that named person.
Ask for any 'submission guidelines'.
Write a formal letter, using correct grammar and punctuation. Use headed paper which includes an image of your work.
Write a little bit about your work - talk about the process and the context concerning it. Write as though you know what you're talking about. Sound confident, and as though you are an expert about your work.
Include your contact details, and your e.mail address, as well as your business card. Include an image of your work on your business card.
Also include an 'approximate price range' of your work, for example, '£100 - £2000', or 'prices start at £100' etc.
On 27th April I attended a workshop at the Arthouse on 'Approaching Galleries'. Karen from The Cupola Gallery in Sheffield led this, and she gave us lots of practical advice. She runs a commercial gallery, so her suggestions were mostly concerning how to contact this type of gallery. But her comments were just as useful for working with other galleries.
Her main message was to be as professional as possible in your relationships with galleries.
Comments included;
Visit any galleries that you think you'd like to exhibit. Get a feel for the place.
Use the recommendations of other artists.
As a means of making the initial contact with a gallery, write a letter to them. Find out the name of the contact person, and address your letter to that named person.
Ask for any 'submission guidelines'.
Write a formal letter, using correct grammar and punctuation. Use headed paper which includes an image of your work.
Write a little bit about your work - talk about the process and the context concerning it. Write as though you know what you're talking about. Sound confident, and as though you are an expert about your work.
Include your contact details, and your e.mail address, as well as your business card. Include an image of your work on your business card.
Also include an 'approximate price range' of your work, for example, '£100 - £2000', or 'prices start at £100' etc.
Approaching Galleries; Part 2
Part 2
Include images; - slides; CD; hard copy.
If using a CD, Powerpoint is good, as it can incorporate images and text together. Also ensure that the CD is compatible with PC's, and Macs.
Don't just send a CD; this takes more time and effort for a gallery to look at your work. Karen likes postcards.
Clearly label all your work; include title, media, size, wholesale price.
Karen suggested that writing '6foot x 6foot' may be difficult to envisage on a small computer screen, so try to include something on your photos that indicate scale. Having someone standing beside it gives the gallery staff an immediate sense of the size of the work.
4 - 8 images would be sufficient to give a sense of an artists work.
Include images; - slides; CD; hard copy.
If using a CD, Powerpoint is good, as it can incorporate images and text together. Also ensure that the CD is compatible with PC's, and Macs.
Don't just send a CD; this takes more time and effort for a gallery to look at your work. Karen likes postcards.
Clearly label all your work; include title, media, size, wholesale price.
Karen suggested that writing '6foot x 6foot' may be difficult to envisage on a small computer screen, so try to include something on your photos that indicate scale. Having someone standing beside it gives the gallery staff an immediate sense of the size of the work.
4 - 8 images would be sufficient to give a sense of an artists work.
Approaching Galleries; Part 3
Part 3
Include your CV.
Put your most recent events first. Remember this is NOT the same kind of C.V. as one you would design for a job.
Include any 'jobs' in a short paragraph, perhaps to indicate the way you
a) work and relate to other people.
b) are a hard worker.
c) have particular skills, relevant to the gallery submission.
Don't include uneccessary details such as marital status.
Do include things like B.A. (Hons), or M.A., or any specific academic awards that you achieved when you were a student, or since.
include an S.A.E. - for the return of your images. This is good manners, and should ensure their return.
Include your CV.
Put your most recent events first. Remember this is NOT the same kind of C.V. as one you would design for a job.
Include any 'jobs' in a short paragraph, perhaps to indicate the way you
a) work and relate to other people.
b) are a hard worker.
c) have particular skills, relevant to the gallery submission.
Don't include uneccessary details such as marital status.
Do include things like B.A. (Hons), or M.A., or any specific academic awards that you achieved when you were a student, or since.
include an S.A.E. - for the return of your images. This is good manners, and should ensure their return.
Approaching Galleries; Part 4
Part 4
Take rejection with good grace! Don't take it personally, and be professional about it. It's about the work, not you.
Your artwork/craftwork may be fantastic - it may simply not fit in with the 'style' of the gallery.
Don't think a rejection is forever! It doesn't mean you can't go back a year later, with a new body of work.
Karen was really helpful about practical things like;
Contracts; they are there to protect you, as well as the gallery. They can be changed, if there are things you disagree with. Negotiate these with the gallery.
Delivery Notes; include clear and concise information. Include your name, and your trading name if different. A description of the work - if it's framed, unframed, textiles, ceramics, etc.
One delivery note can include all the pieces you're delivering to the gallery.
Don't harrass the gallery. BUT DO follow up on your initial contact.
This is quite a tricky one, as what one gallery considers to be 'harrassment', another will regard as being 'following up'!
Take rejection with good grace! Don't take it personally, and be professional about it. It's about the work, not you.
Your artwork/craftwork may be fantastic - it may simply not fit in with the 'style' of the gallery.
Don't think a rejection is forever! It doesn't mean you can't go back a year later, with a new body of work.
Karen was really helpful about practical things like;
Contracts; they are there to protect you, as well as the gallery. They can be changed, if there are things you disagree with. Negotiate these with the gallery.
Delivery Notes; include clear and concise information. Include your name, and your trading name if different. A description of the work - if it's framed, unframed, textiles, ceramics, etc.
One delivery note can include all the pieces you're delivering to the gallery.
Don't harrass the gallery. BUT DO follow up on your initial contact.
This is quite a tricky one, as what one gallery considers to be 'harrassment', another will regard as being 'following up'!
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