Artist Unknown : Known Art PRONI – QSS Belfast

Artist Unknown : Known Art

The Artist remains anonymous leaving conjecture to the fore though the relevance of the art itself is slowly releasing its objective aims. Seeing the work in this very laidback utterance of records waiting inspection is highly immersive. It affords a massive degree of development of anyone’s perspective. Without a creative narrative other than the short circumspect motives of lauding to the place and context no genus loci is foremost. The 22 years of work are seen in a few items, 22 or thereabouts. Counting the past and Colouring the past all recall time.

With an exhibition title the past is somewhere in these pieces. Colour is the apparent manifestation but achieving a connection or correlation is intangible. That is not a downfall but a point at which to travel on to another aspect. These materials are the essence of an experience encountered either through words or the books and documents happened upon. Over a period of 22 years there are perhaps gaps and peaks. There is not reference other than a phrase at each piece that itself is a code of words themselves ambiguous and tertiary. That is itself a form of approaching record and memory as we all know how fragile and open to interpretation that can be.

The words written here are borrowed as well as an appreciation of the leap onto a fixed point taken in time where a sudden phrase or vision is unfolded.

Not displayed. Displayed.
Ideas embraced are kept away from the identity narrative but embrace here 22 objects in materials honed on material. I thought of the art here maybe being made by a machine, and unlike a machine art combines narratives set to provide us with a set of visions and understandings from an initial connectivity.


The scope is left uncertain and aim is intense recalling observation now illuminated and entrusted to cabinets and walls displayed in accordance with expressed wishes so far as can be understood. Pairs. Light. Single eye level sight. Triptych on a line separated by a height on the line of sight each a crest fallen or risen. Stark daylight comes in window filtering shifts outside of time passing. Inside merging with LED and spotlight directed on other things. Room of sides. Some open. Cases repeat use. Different context. Explaining objects. Deciphering others perceptions. Editorial nuance. Collaborations of consent. Elaboration sent.

Time remains constant meaning fluid as metal. Sheets of glass hang as semi-state liquids. Porcelain is stacked along a wall in glass cubes solitary as Meissen mutable bodies violations of humanity stocked for future recall and memory yet discarded invisible broken and rendered gas in a fire. Dacha porcelain melted through malleable corrupted expedient obedience.
Set in a case intact still and caught in hubris and artful connectivity. Light shades it’s luminous transparency. A balance is found. Memory invoked. No story told. Ideas flow. Here are examples of the Porcelain on display and in this place is taken the viewer elsewhere without delving into specific references.

October 24th 1777
A true Genius will always Remember
to Leave a Space – unwritten – to Come in
Contact with the wax or wafer – by which
Means – the Reader Escapes – half an hours
Puzzle to Make out a Sentence – & Ever
while you live – never Omit – no –
not – that – what! – what! – dates! – dates! –
am not I a Grocer? –
pun the 2d –

The daily choices determined your mood and discard elements of the past lurking in the shadows of the day’s past. Those days recall the spaces left empty.

Magic is before you still as the ever-present it looks to you and asks what it means for you to take it in. Thus the art is realised. Somewhere a forgotten energy stored is released and summons you to the garden. It is earth stood on it is a thin veil of crust over a molten melting furnace we inhabit. Those metals surge to meet us and the conglomerate spells of their integrity allow the freedom to explore ourselves.

Here are some titles – they are random like a memory.

No. 7 October 22d 1778
My Dr friend
have you never – beheld – a Bust with
double – no! – not double – but with
two Very diferent profiles – one Crying
& one Laughing – thats just my
Situation at Present – for poor
De Groote – huzza – is Presented to
the Charter house – by – Bless him –
the good Arch XXXX Bishop of Canterbry,
but, by a standing law, he can not be
admitted till a Fresh Quarter begins –
& as he says – he may be dead by that
time – we will hope not – well this is
the Laughing Side. – The Duke of
Queensberry died this morning –
alas – ‘I ne’er shall look upon his like again’

the Clearest Head & Humanest of Hearts
I have – in common with many –
many – a Heavy loss – I loved the
good Duke – & not without Reason –
he is Gone to Reap a Reward – that
St Paul could not Conceive – in the
flesh – & which I will be bold to
say – they both – Perfectly
Enjoy – at this moment. God
of his Mercy Grant – that thee & I,
& all I love – yea & all I know
may Enter Eternity with as promising
hopes – & Realize the Happiness – in store
for such as the Duke of Queensberry

Far from the element of truth is the offer of alternatives equally valid and worth consideration. It is why the pages are filled with narrative in our daily lives and completion for new thoughts materialised as conjunctions in science discovery or rationally deduced revision is found in the capsule of a moment in time and then the dialogue moves on. This art is a message in that context. Colouring the past is cumulative and expansive in its scope. The offer made is to unearth your own archeological logic of existence.

Colouring The Past – 5 Feb to 31 Mar
Exhibition, Public Record Office of Northern Ireland (PRONI)
in Belfast.

An exhibition by Antico

Influenced by both the colours of ancient manuscripts and the vivid emotions of jazz, this unique exhibition brings together twenty two works which span twenty two years of output from this artist. The music that influenced the artistic practice will play during the opening event.

Antico has studied archives and artefacts across the world and drawn upon this experience to imagine a sense of the past. Our concept of the past offers us the opportunity to reflect upon history on a more personal level. What can this body of work tell us now?

Venue: Public Record Office of Northern Ireland, 2 Titanic Boulevard, Titanic Quarter, Belfast BT3 9HQ

QUEEN STREET STUDIOS BLOOMFIELD AVENUE

Emergence III Is the third iteration/showcase of recent graduates from Belfast School of Art facilitated by QSS
New start
The Graduate degree show put together at QSS Queen Street Studios is located within the new premises acquired over last year and shows also its heft under the fragile spaces artists within a sector very short on resources and is a very good taster of work unfolding. Their; QSS, helping other artists is just a token and sign of the reservoir of good functioning practice within the local art community. ‘Joy for humans lies in human actions; kindness to others, contempt of the senses, the interrogation of appearances, observation of nature and of events in nature.’ Marcus Aurelius. Some of these boxes are already ticked here.

17 artists are on show. Works vary from Silkscreen prints, Acrylics on Canvas, Oil paintings, mixed media including soap, embroidery, some recycling and a small but very thorough working of Sculptural themes which I set about writing first given they gained my interest most.

Sculpture
Fantastical, celebratory, lighthearted and evocative are some of the other boxes ticked. In the centre of the main room is a water closet. It sits in a white container gridded with black lines and it spills as the Trevi fountain or the Peeing cherub the pure aqua normally associated with cleansing, so an opposite act is in is circulated and no overflowing content is uncontained. The overflow is circulated and no overflowing content is uncontained. A paradox of a loo.

Leoni Hill Why is this failing?

There is a section of floor where a carefully curated set of (paper) banana skins. Decorated and plain on the plane of the floor making a forest of little yellow hills. Like an aspect of a terrain visited and a banana republic is happened upon this is a bit of a confounding mystery to some. Asked what the the bananas were about the best instant reaction was, ‘About £2 a kilo.’ Somehow it may cost more in time.

For some unknown reason I happened to think the room was containing objects and a collection of art that were speaking to each other. Not to overdo the sense I was struck by how for example the work was a course of art development and we were looking at the present form of expression and how this generation or group were seeing the volume of, the globe of, nature of art and its ability to convey an interest or view. Very few pieces if any failed in that respect.

The most interesting work and I saw it in the RUA 2019/2020 show was Lens II which is so delicately realised and fine tuned it will adapt to whatever situation it finds itself in. Though it would be wise to keep it away from natural sunlight in case it’s lenses ignite a combustible material it might focus on.

Aimee Nelson Lens Structure 2

The exhibition has more sculpture and it is worth attention. With this work by Paddy McKeown an example of making magic from simple shapes. This time a cone.

The many paintings on display are across a spectrum of approaches with pattern often appearing and the emergence of the stylised Hockney type openness to figurative abstraction immersed in colour. Without the Californian weather. An intelligence of culture and political immobility is captured or occasionally alluded to. The lack of prescriptive dialogue is a sign of carefully avoiding a rhetoric or belonging in a timeframe. The acuteness of single works is evident in many pieces, the accurate vision of natural landscapes as recomposed in singular visions is a frequent art narrative and is continued here.

I liked the work of Anna Horathova who along with her sister are working in fine art photography and other mediums. This photograph is taken in Kiltonga Woods Newtownards. It is a beautiful atmospheric paper print.

Here are some very nice pieces of work proving it is hard to distinguish or correlate a critical view on anything as there is much to be absorbed and much to find in the future from these works.

Something to rest your head on.

All views are merely opinion and hopefully are an insight to the works here shown.

John Graham

14 February 2020

Belfast

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