CHANGE OF OPENING AND CRIT TIME DUE TO CHANGE OF LECTURE TIME!
MORNING OPENING: 11:30 AM
CRIT: 12PM- 1PM
AFTERNOON OPENING: 5PM (post lecture series in Main Lecture Theatre.)
THE CRIT: 12PM CO2
EGG nice but doesn’t fit with other two works…
pole/ gravity/ CRASH onto egg- two pieces work well together
Frank: Pole sticks OUT but doesn’t stick IN for me..haha
The poles come out of the painting and doesn’t come out of it?
Kirsty: Struggling to understand how and why the Blue skin got there… don’t quite understand what it’s meant to be doing..
Destroyed work- like its been impaled- want it to go further (Erin)- smash the floor- more gravity- feel the power of the smaSH
pieces of the skin have fallen off onto the floor- nice, can see bits of THE ACTION THAT HAPPENED
inside outside- Jon’s work and my painting INSIDE
my work is about peeling layers too… layers of paint- Jon’s built up layers of skin
3 very distinct paintings, like our own individual practices (THEY ARE!)
Collaboration not about narrative between the pieces/ in each work but about being together- 3 painters in one place, space.
The works do have a conversation- the nature of what space is.
INSIDE OUTSIDE, do they have a substance?..
HOW MUCH (Patricia) IS SPACE A MENTAL THING- ITS VERY SUBJECTIVE, DIFFERENT TO EACH INDIVIDUAL AND DEPENDS ON THE SIZE OF DEPICTIONS AND THE SPACE THEY ADD TO OR OBSTRUCT.
EGG is huge- not realistic…or is it just our perception of it that’s not realistic.
NEGATIVELY PAINTED BIRD
EGG FELL OUT OF BIRD
NEGATIVELY PAINTED BIRD FLEW UP, FLEW DOWN
POLE IN, POLE DOWN, POLE UP
BLUE SKIN, BLUE MOUNTAIN.
It is just paint, the materiality of paint
All words in the title have to do with the materiality of painting, the material of paint
Not about connections through the narrative of the pieces but about the connection of a shared interest and obsession with materiality.
Our works are all based on materials… and an excitement with them.
Precarious-ness between pole and egg. Everyone feels an impulse to step upon THE EGG. Squidge into it, a child hood muddy splashing desire.
Pole; sense of gravity, imposing force
Traditionally paintings on board are 2D
The EGG is 3D and sculptural. Different uses of the same materials.
Triangular placement of pink line in Georgia’s painting and the steel pole meet at a point, a
H a r m o n i o u s peak
3 individuals came together in 1 room so it is natural to try and connect their 3 works. 3 became 1 in this exhibition= its human nature to try and form connections.
Because co2 is a square, works cannot hide, they have to all be together in visibility of each other
THE ROOM IS OBVIOUSLY INTEROGATING WHAT PAINTING IS.
CAN’T CALL IT SCULPTURE, CAN’T CALL IT PAINTING
“I think they’re asking it to be called painting…”
“Do you think it’s important to these painters that they are called painters? Yes
Painters are still held up on a weird pedestal
POLITICS of materials. All pieces created by PAINTERS.
Redundant conversation..? or very current in this time of INTERMEDIA
In the wider art world would calling this show ‘A Painting Show’ or ‘A Sculpture Show’ alter how is was received, perceived, analysed, even if the works were totally the same….
Micha thinks INSIDE is a better title than the list of materials that we used because it is written in my painting, it is INSIDE the room.
Lots of interesting connections being made but Ellyce would enjoy contemplating each work more on it’s own- it would be a ‘richer experience’.
Maybe they’re ot connected? But we’ve all (in this crit/ room) made a bunch of connections- height, lines, poles, egg, flight, peaks…
Is it a really confident move to to put 3 works in co2?- risky but good I THINK (or not risky if confident..), going down alone! If you put up your own work
Maybe we’re conditioned to understand what works are trying to say to each other when they’re together in one room.
An exercise about putting on a show OR an exercise in advancing their own work? Its possible for it to be about both.
There’s been a physical reduction of each person’s work in the production and curration of these three people coming together to make this collaborative show.
DUE TO COLLABORATION HOW MUCH DO YOU EDIT YOURSELF OUT TO FIT WITH YOUR COLLABORATORS? V GOOD QUESTION! (ESPEC. IN TERMS OF LAST NIGHT PRE SHOW, COULD HAVE SHOWN ONE OF TWO PAINTINGS- ONE MORE ABOUT ME AND WHERE I AM AS A PAINTER, ONE MORE HARMONIOUS AS A WHOLE WITH THE OTHER TWO WORKS IN THE SHOW.)
Have to Q whether each work would stand alone, on its own in the room, yes? No? no answer really…
WHAT IS COLLABORATION? Why together? Better alone or better in group? General consensus is that most people would prefer to have a solo show..but not alWays CONNECTIONS ARE INTERESTING
Kirsty: how did the pieces magically work together?
Andrew: he saw our collaboration as a text, to see how the degree show next year will work, about curating the space together, not about the actual works.
3 worked together- BRAVE- AMBITIOUS
PHIL “its supposed to look like an egg so I’m glad you said it looks like an egg”
VISUAL POLITENESS WHEN COLLABORATING/ OR CURRATING, WHY IS IT NECESSARY TO MAKE THINGS LOOK NICE? ITS is subjective anyway, it is natural and it is good to challenge it…
Make things socially acceptable, in gallery spaces.
contrADICTIOns in room, interesting? Perhaps, not just for the sake of them though, silly, rough
WE ARE THREE INDIVIDUALS IN WANT OF ADVANCING OUR OWN WORKS AND MAKING A GOOD SHOW. WE HAVE, WE DID, IT’S A (phil:) “Well curated exhibition”.
What is a group show? It’s a BIT of an artists work
HARMONIOUS IS A WORD THE CHINESE GOVERNMENT USE TO SENSOR. MICHA… IRRELEVANT…
Group shows use to be un-thematic- just lots of works all together
Group shows- desperately hope people will distinguish each work as individual?
Good curating, bad curating… is what?
IM ALWAYS CHALLENGING MY TASTE IN MY WORK, ITS EXCITING, IT’S WHAT MAKES PAINTING EXCITING
We are hybrid artsists/ students: this permeates through everything
AND THAT WAS THE END OF THE CRIT
and we didn’t really get any critique of our individual works, which was something we had hoped for by including pieces which are all current to our practices moving forward now.
And then when everyone was leaving Patricia and I communicated very briefly (due to word head fry) about my work:
Where are your painted words from?
The words come from writing I do about my mind and also from sketch books where I theorise about ideas in a poetic way.
INSIDE is to do with an existential idea about everything and everybody being always both inside and outside of everywhere, ones self and the universe.
She said she felt connected from INSIDE, can’t access the painting OUTSIDE.
Is that the pink cross in my painting?
I can access it it inside, empathise with what the artist is communicating
SO THE LANGUAGE I AM USING, THE COMMUNICATION OF PAINT TO SOUL WORKED?