Art : Water the Obverse Land

egon-schiele-1348872672_org

Land the Obverse Water
Nights draw in as we pass through giant sky’s.
There are immense spaces and water stretches that fall on an eight mile horizon. Sand dunes picked up by winds knitted and made solid forms by maram grass and man made groynes. They nestle people and birds. Swimmers walking long stretches of sand to reach the sea. Our rugged coastline on West and Northern shores cut into bays of rocks with strands of open space for large waves to descend and run along sand.

Human scale is refigured in the water and on land of uninterrupted horizontal view. Some of the local independent galleries have between them happened upon art which configures the interaction had in outlying experienced land and water.

Golden Thread Gallery shows a collection of Gary Shaws Semaphore flags redressed and displayed after an earlier appearance during last years Belfast Culture Night. That night were it, Culture, all comes out to play and is tucked up to hibernate in the wider publics imagination until the next years event. Events are often overlooked and undernourished in Belfast. Only around thirty turned up at The Strand in east belfast to see one of Ireland’s finest contemporary traditionally nurtured musicians Donal Lunny. How come?

egonsh

 

The legacy of Egon Schiele in Cesky Krumlov and at the top a filched image but I’m sure they will understand!

Little Kingdoms – Part One : Cesky Krumlov : Catalyst Arts
We come to the fringes of East European Cities as a marker of the their neighbouring conurbations cut off from them as identities of a different kind. This is the area of narrative for imagination to take over and diversify through remnants of art. There are three parts to this little Kingdom Series carrying works by members of Catalyst themselves, none of whom it would possibly be, that ever visited the location of the header. Translates? Pesky Crumbs Lovebed.
So each is attempting to plot a course of relation using the tiniest of fragments of the behaviours, objects, topography, built environment, legacy, flora, fauna, you would expect to see or have referenced and advanced some human observations

IMG_3453
Models by Elaine Leader is the Imagined collection of 1:200? scale architectural style models of built objects and screened spaces. Each having a function, an observation post, a lifeguard type tower, a funnel, a pit, transportable screens, portals, stairs, all recognisable and fabric of many formless towns and these are spread randomly as an act of impermanence and fragility. Being a lovers of the interrelation, codes, complexities and design of built environments particularly their reluctance to be universally appealing or intrinsically local the ‘movements’ of architecture abate and disintegrate once they embark – and China’s obsession with derivative movements as extrapolations of their own wishful future – on journeys beyond the authorial origin. It is a very well conceived work which lends credibility immensely to the ambitions of the project by nailing the other of art in one part.
Could a piece of paper make that imagined.
Two years ago by Michaela Butler Imagines it as black and white A4 sheets of undistinguished graphic images overplayed, inverted and positive, negative shapes. Is is possibly an expression of comparison of a history. That would fit and is purposely vague but shapes are defined and present perhaps then and now.
A fucking good poem is like a bomb by Vicky Smyth Imagines it as a poetical kingdom with a poetic population on the outside concerned with the focus of medieval cities. At least that became my interpretation. The bard of Castleblaney used poetry as bomblets. The little clusters dropped worldwide to cause collateral damage everywhere and anywhere.
In a country once populated by shepherds weaving words while sheep grazed to grow weave and industrialised poets laid against the hulk of ships in a cathedral of echoing riveting workers few words baulked the revolution of blood letting making the fuck word as idiotic as Johnny Rotten using the noun as an interjection unpolished as this non-functional title. It seldom is true and intensively a personal fucktional word delivering no addition to the alluded too truth that good poetry is actual literal truth.

IMG_3440The broad cast of the bap man
Bap Breakdown by Mike Harvey Imagines an artist exploding. His work is inhabiting the space within the Little Kingdom with video of gestural hooded confined person, ironic in the evidence of grievances executed in the back lands, civilian inhabited badlands which know no limitations. Another video gestures pony behaviour. The spoilt kid with two fingered arm and self mocking pratfalls which alludes to giving us nothing to learn if viewing continues. More productive than the counterpoint of negative seen in video is the very good line drawn portrait paintings and on a shelf – another plywood enthrallment? Is irony continuing in this school of artists?!. – is centrally a leaping body which is is an expression of confinement and exuberance as well as apathy in subdued black and white roughly executed. It is effective as are the numerous paintings. Mike Harvey has constructed on the floor against the wall of the exhibit again centrally a rack, three racks to library some of his assorted images. They require looking at but the racks obscure. This is quite act that like a library requires you to have a ticket, but like pictures defy being handled. They are also in real form very beautiful tender portraits of evident personality which offers the prospect of further advances as intimated by glimpses of his work in again muted colour. The colour works could be In themselves a catalogue of human observation of faces as understood by all artists as being the idiom of conversing with the other. I thought this work was the show stand out piece so far and is on many levels effective and has assured presence withstanding the t-shirt marketing outreach.
@jacquelinewylie twitter followers 30.09.14 by Jacqueline Wylie Imagines the out there unknowns. The identities of her twitter followers are listed in what appears to be Gill Sans font replete with the large @ symbol. I suggest unknowns as most people are not entirely aware of their twitter followers or facebook followers by dint of the preoccupancy of simply facilitating connections across wide platforms. Twitter is that dark stalking horse that cultivates avarice and quick soundbites and gingersnap raw words. Writing a tweet can be so tiresome I’m sure it is widely agreed and for writers the words have to be King. There it is then, Jacqueline Wylie has it, on an AO size white 180gsm ish sheet hung with a galvanised bulldog clip free at the bottom a Little Kingdom defined as many in the chosen location may the self same have encountered the syntax plainly in b/w.

IMG_3449A contemplation of where to begin climbing

Rubberneck by Martin Boyle Imagined and challenged many adults.
It is physically a set of very small wall climbing grips to encourage you to climb a small height to ascertain what is on the ubiquitous plywood shelf. This one no larger than a postcard. is there a postcard on it?
On the floor in front lay what looked like a Primark receipt for £9.99 but I take it it was an inadvertent decoy! A very tall man had the ability to peer down on the shelf and passed it suitable for his children to ascend and discern. Having asked what they saw it was evident it was a figure of derivative kind. They knew of Elvis I imagined (I made that up) all 42 years of living and it is clear he was not in this building and with 100% certainty never had been.
Only by accepting the challenge is it ever possible to find out something.
Never rely on other people only yourself can be discerning.

IMG_3537Instagram collection this place and others.
Transfigure by John Robinson Imagined a portal constructed from softwood 2x100x50mm framing of an aperture about 2.4 x 2.0 metres tall.
Sandwiched between the frames as a shapeless plastic opaque curtain was a couple of sheets of billowed plastic membrane. Where does the transfigurement take place? On which side of the portal? It has a few random strokes of blue paint internally. It also is grounded and escapes beyond the frame as an overflow. My interpretation, hardly enlightening was of a Tsunami effect of a flood through a doorway. It was not what John Robinson had in mind. The irregularity and frozen character of the work could have many interpretations.
Cause and Effect by Katrina Sheena Smyth Imagines Memorialising the statis of the person in loci. That statism being the principle or policy of concentrating extensive economic, political, and related controls in the state at the cost of individual liberty. It all involves the loci of the Catalyst Arts Store room that emporium of capitalism hidden in the bowels of the building never seen by the free paying public narcissists blind to the I provirus of the Arts Council inflicted Values.
Of course that is probably not what Katrina Sheena Smyth but you never can have any certainty were she is concerned because she is a very concerning young lady in of course the very best sense.

IMG_3468

If only I looked as good in a sweat suit. I last wore one at Helston Regatta w/skiing and scared the children with my thin form. The folk of Cornwall fill themselves with Cornish Pasties.

Platform Arts Top Floor

Nothing Great Is Easy by Lisa Stansbie  

ON AT PLATFORM ARTS UNTIL 24 SEPTEMBER 2014

Amphibious Amorphic Antthropologies Ambiguously Atrophied

When you have been to Mount Olympus and known the dimensions mankind can traverse in around three hours, apparently 26 miles or thereabouts and put it to practice you ascertain a value scope for the land mass on which we live. It then follows what is the other the sea all about. The tide alone is not it. The surge of the Bristol Channel in height and as a race inland and out again is a mere bauble when there are oceans that out rank the land. Ships, boats, planes have all perished taking with them a body of people so one goes to water off shore with respect and plenty of uncertainty.

The lithe luxuriant artist Lisa Stansbie has been both a marathon runner and latterly an open water swimmer. Fragility is not I suppose a familiar word that endurance athletes worry too much about. They measure potential hazards, predict patterns of nature and plan meticulously for a performance of human endurance in exemplary self challenging mystique. Like a boxer stepping up the purges of self encapsulated talents and energy willed into battle against another force known to have an element of torturous behaviour that may go beyond ones own if not respected and correctly defended against. It is a substitute for a multitude of levels of sports and like taking flight on an animal, galloping a horse over obstacles or in a caravanseri up a hill or along a trail it is elemental.

IMG_3461

the crown ofr King or Queen

The top floor of Platform Arts is a space filled by Lisa Stansbie of Objects, Video, Photographs and Print material all referencing the art of Swimming and in particular open water Swimming. I would love to swim properly but the last time was a lido in Newmarket which was dosy dosy on a summers day. Before that in open water i got a shock and nearly taken out to sea near Deauville in Normandy and the shock was enough to remove all water confidence overnight. Next day i could not go in the water.

No such trepidation from this very accomplished endurance athlete who is equally adept at producing all kinds of communicative narratives and art installations to emphasise a point.  Also Lisa Stansbie wishes it seems to celebrate things through art and narrative to such a degree she passes it on by the medium of teaching at Huddersfield University.

IMG_3457

AT SWIM ONE BIRD. The composite drawings – symbols of swimming and invention of machines for waterborne propulsion.  Superb set which also appear on the stairs and  in the escape route stairs of the gallery so the artist is frothing with ideas!

AT SWIM TWO BIRDSegon at swim

This room or large Gallery space is neatly laid out with the articles telling a story of the very specialised sport of endurance swimming in open water.  Whether it is a river or an estuary, lake or the open sea it is a sport i imagine can quickly change elementally. One large trade photograph or stock image of wet suited male swimmers with flippers, cap and goggles dominates the mid gallery.  It is surrounded in the rest of the gallery by layouts of water bottles and floats.  There is a neon yellow crown which attracted like moths people to be photographed in a halo pose, the here representing here the king of the water in a water community somewhere far distant and memorialising the person overcoming the strength and control of the water.

IMG_3459

Waterborne is a book by Diana Gleadhill, a woman based in County Down who is also very very keen on open swimming.

If I leave the writing about the exhibition which is very well conceived as a set of confrontations with our humanity and the things we bring to engage in challenging natures forces, well this is a glorious starting point and will take you a long distance and be with you for a long time if you appreciate the context setting and the wide cast and generous disposition of the artist.

Waterborne carries a few poems and written material which fits here in context.

Ever drifting down the stream –

Lingering in the golden gleam –

Life, what is it but a dream?

Lewis Carroll    (After Edgar Alan Poe and ‘All that we see or seem is but a dream within a dream?)

 

Full Fathom five thy Father lies;

Of his bones are coral made,;

Those are pearls that were his eyes;

Nothing of him that doth fade

But suffer a suffer a sea-change,

Into something rich and strange.

Sea-nymphs hourly ring his knell;

Ding-Dong

Hark!  now I hear them — ding-dong,  bell.

William Shakespeare.

this one I like best

Boats sail on the seas;

But clouds that sail across the skyAre prettier far than these.

Christina  Rosetti

 

ON AT PLATFORM ARTS UNTIL 24 SEPTEMBER 2014

John Graham

9 September 2014

Belfast

 

Art : Object

We are the object. Nandos or Art.

image
Lots of Art to see One Night Only
except for some of the lesser works.
UPPER LEVELS IN THE FRAME
KEYNOTE
The currency of the Platform Arts exhibition Keyframe suggests we take a journey or pathway separately and Sontag like we also cross into other realities.
Susan Sontag ‘when crossing spatial borders, the photographer becomes “a tourist in other people’s reality” and eventually in his own.’
quoted in Colin Martin’s leaflet where the writer attempts to introduce us to this and asks further how reliant a capture of the time and place it actually is? How repeatable it is? Both these questions entirely subjective but for the individual normally answered negatively – another unexplored film meaning. Then axiomatic.
These key topics in the installation are enticed out on 5 floor mounted screens with sequenced cycle of the same film are according to the above reading of the leaflet, its own little film synopsis page, complete with actors, the room, subject , the Irish Film archive, the jeopardy, the unknown behaviour of you the viewer, the money shot, the key frame. As a film show the leaflet is meandering on the content and does little other than outline objectives. Not the artists fault but the editorial of the film is very narrow and unchallenging.
Why chose 5? 100 +- is theoretical as are worn images the archive presumably obtain.
It might even have worked in a supermarket. Or even Rita Duffys pop up shop an archive of experience packaged and all for sale POA.
Do you think any other significant variables are missing from your consumption equation according to standard consumption theory?
Estimate using what you consider to be a more corehensive formulation of the consumption function.
Give reasons for the inclusion of additional variables and discuss the economic and econometric results.

Piled dated goods. Content labeled, commodity presumed, entirely disposable and incomplete and removed from the marketing effect the label induces. Recycling. Packaging. Semantics?
Supermarket as archive, not so strange. Our consumption is cultural, produce is repeated and reinvented, contains such laden baggage dating back to its invention. Labels are King. Experience.
The installation is extremely dull and un reaching towards the supposed goal.
It was minimalist art at a minimum.
Posed as being derivative of the Michael Snow Wavelength, given the gravestone token of seminality, from the vesicle sak, as if any one has a clue what that actually is – highly original? Influential certainly hence the laboured reproductions and mis treatments, very much this a case in point.. So it shall rest. It is untechtonic, unexpressive, unmachineness, pure rolling – and most likely as Wavelength, planned to be shot un chronologically. When did anyone perceive the eye cannot be duplicated even in watching film?
You might draw a distinction through this being ‘film’ of ‘film’ but that is a lame derivative adventure.
The film is itself an archival work without a reach into the organic processes of the room. Taking and making a film into another technology unseen, unsaid, its at the rooms most inert functionless time, when it is without the archivists, time locked, it merely depicts the room, dimensions though partially, the wall and door furniture, it’s shelving, nostalgic nods to library of reels, names of series adored in CinemaScope once again.
Of course reactions and memorial will be different and Keyframe lacks that acceptance everyone of us has when they lift a camera point and shot. Unlike Sontag who never made films but participated in others as an act of disturbing her own biography by performing within, you have got to believe it entirely within her own set limits for the filmmaker who however appears in these works on Sontag to have enabled freedoms. Like hell she has, it is impeccably orchestrated by the photographer who knows what the lens pointed towards her produces. Sontag gorgeously commits this part of herself, her own skill, knowledge and mercurial image onto the film big time.

Sontag was aware and Colin Martin presumably endorses the leaflet writers take on it – uses the word ‘parlance’ implying reading the huge difference instructing the course of ‘transition.’ Film is of course transitory. The frames shown could also been retaken on different days, where are the rough cuts, the trial runs, the debris of EDITORIAL on the floor?, instead we get the lifeless materials of the front and back – meaningless, perhaps that is an out, – keyframes. The film or leaflet is titled Thousandfold it seems.

PEPPERED DOTS
by Sean Guinan also at Platform Arts is a small display of paintings gathered under this title.
They are intensely worked oil both texturally and conceptually. Sean Guinan begins his painting without a motive but placing a mark as artists will assert begins the unfolding of motive, direction, intent, time, statis, act, turmoil and then that word again employed here as a jolt, transition.
Everything changes as the cliche tells. The Mac exhibitions also going off at the same annoying time are time referenced with transition dealt with hugely. More on the Mac later.
Sean Guinan has produced art intentionally bordering the figurative.
Nature, that then – it has since altered – complete evolution , is stuck to the canvas (some appear canvas I assume all are) in developing spiraling only occasionally dots and in the process what emerges is a graceful very calming set of works.
The sleeping giant without being aware of the title did evoke in me a conscious of religious repose. It is an ‘element’ at rest, animal or spiritual with a skin of many colours.
Spiritual Presence
I had a sideline conversation on the place of spirituality which in the frame of God, does not go down in artistic circles, except for the binding relation with patronage through the progress of art. It didn’t strike accord.
Ruskin put it better than I ‘dramatic circumstances‘ that covers many art ventures, ‘…place of art in the discovery of God.’ Meaning of course the art is the route but is it not also the search of a discovery. Not plain representation mistaken hugely as art. It is a vector to separate and make seem un reachable and beyond mankind. Therefore I maintain, it is the discovery of the artist being conscious of the limitations, only reaching a certain and often ultimately that ceiling, cathedral like?, which signals the end of that artworks mark physically. Transition as Sean Guinan ‘Signals’ to me a viewer that stretched moment. A fixity in time.
This work is certainly worth seeing in its confined space.
Had a bit more imagination been shown the risk could have been taken in giving the larger space to Sean Guinan. He may have formulated a connection with the room. Keynote discards this and uses only a quarter of the space which in my mind is not an artistic or curation choice but bad choice or a lack of communication. Sean Guinan has the challenges of his occupation and is very, very, commissionable. Many Platform works are responsive to the space, the main gallery, Top level I call it. The art therefore grows and the space adds its proportional strengths and proprietorial genus loci – its exhibitions always seem to have something to say of the ethos of the gallery.
The work produced by Sean Guinan is heavy on the medium used and unless the work of artists – the ability to write off large chunks of materials in their tax breaks – given that proprietorial extension for the work is advanced it will be increasingly difficult here in Ireland to develop the talent that is seen expressed in spiritually maquette form.
This is essential for the advancement of the society we live in.
Understanding art leads to so many levels of understanding which are not simple accumulation of theory, electronic or otherwise but world affirming.

image

SETTLEMENT OR SUNKEN
AT TIMES LIKE THESE MEN WHERE WISHING THEY WERE ALL KINDS OF INSECTS
The Mac has an ill considered space, the sunken gallery which attendance is for fit persons or those prepared to once again deign to the discrimination of a elevator especially tee for them.
If you go there thence forth you will see the very surreal piece of commemoration in the work by Graham Dingles. His work also features in the constrained Art of the Troubles (as if we hadn’t the capacity as natives to digest our own lives) and in the sunken space a building of memory is elegantly provocative of the sense of touch, materiality, amber cast
He generously filled in gaps in my reading of the work which were considerably given Graham’s ability to explain the intellectual theory and to offer its expression of limits of the subject and it’s here obituary.

Where I got to was the vase or chamber in which the lilies were decaying and emblematic. The amber context I got from the whites, pale yellows and browns. The amber is the amber of corn fields in which the wind blows and symbolised the dying raked from straw. The smell is intoxicating as the lilies give up their life as cut flowers do. The amber again is the aspic sign of plant forms in behind a glass framed cabinet elongated or in other places more formal with again memorial content. The lily is a relative to the aspidistra of many wartime communal front sitting room gathering to remember a family member whose life was taken and no body sent for burial. The aspidistra almost taking the place as it seems to suggest in Graham Dingles piece the already cut and now decaying person of whom this whole is for.
A tribute it suggests can be made after the style of the deceased or as an excursion of emotions surrounded by artifacts. On further thinking and continued consideration and I wish to go and revisit it, I find it extremely evocative of the crime of war, the irregularity, the disconnection, the disfiguring of the soul, the body rent of life. It is composed to build this formulation as an antidote to war.
When the flowers are – Eurydice – Edith Sitwell (I referred to it before in my last film review) says
‘Love is not changed by Death,
And nothing is lost and all in the end is harvest.’
They will be replaced. Everyday a child, woman and man is killed by war.
There are three. No exception likely ever until we return ourselves to God replacing hate with love.
The exhibit should be toured and placed in the joins between all wars and it has a derivation arising locally and in particular reference but that is the strength of the personal that it carries remarkably poignantly.
It seldom seems fitting to be holden to a memorial as in most cases they are less fragile and more direct in their delivery. When it becomes a cause for our concern through its immediacy or it’s greater and greater obscenity of human depravity it is necessary to, in lieu of reflecting through the God given emotions and life’s instinctive ness from the one source, these pieces are an act of courage and exclamation against lies and myths creating such wars.

The main gallery at the Mac , again an Upper level gallery, is below the children’s section. The children’s area and sometimes corporate recruitment hot housing days in the space is in a badly designed location.
It has no apparent staircase and no apparent means of escape in case of fire. It instead looks out from the ivory tower into the courtyard below with its gaudy po-regency fronts. Its rear backs onto the dual carriageway of Victoria Street, all car park and no design giving away its preposterous facsimile architectural conceit.
If ever two new buildings were juxtaposed opposites this would feature highly.
The upper gallery is an immense space with generous ceiling heights and well lit. It is evening when the opening of the exhibition of and sunlight has passed light is softly caught in the roof glazing openings set in the west side of the room.

image

Colin Darke : GROTESQUE MEDIOCRITY
That theory is contained in text is a theory; that it can be made pretty by transposing it on a medium that intensifies or subverts its meaning is superficial. The he superficiality of this work is that relation.
Possibly that is an avenue to be explored in this very large and handwritten version of Marx’s treatise, a small book on Bonepartes Revolutionary ideals.

So Colin Darke takes the bourgeois artifacts of the everyday. Fine China, White Fashion boots, highlighter pens, cutlery of the finest quality and de seminaries the books across the variety of objects into or is it out of, well in reads inward but you can never be certain. Rather tedious to read the book in this manner even if it is pretty and the handwriting is carefully and meticulously imprinted.
It struck me as having the ‘hallmarks’ of a Turner Prize wannabe exhibit.
Marx’s own middle class background affected his own outlook and the academic in him thought through theorizing on historical materialism.
The book in its beginning chapters and even from the outset call the 1848 revolution a recasting and playing out of Bonapartes revolution.
We are without any other context.
The subsequent revolutions which saw the end of monarchy and the Church’s hold over France is another story. In
Centripetal and Centrifugal
So why this one and told in such a way? I have no idea. It is another exercise in mortality. The centre is a disintegrating set of we are told 666 apples. He forgets the tragedy of the the first and that Engels said of the second revolution it was a farce the line appears on the first tiles but the meaning is unresolved through this piece. The mould of a spiral is always the centre.
What Colin Darke is creating is in fact the idiom of centrifugal politics. The Marxist theory, never expressed by him or subsequently through the so called Marxists is that it seeks a model of centripetal politic reform.
The prognosis of the book is that it again highlights the people are vexed with the economics and factors of that time the revolutionary instinct for radical change sets in is in fact Parker’s practical needs.

The liberal set we know today are in charge or so they believe though essentially they are in concert with the capitalist few in order to maintain a live above the proletariate.
Revolution Stall Holders
Under the socialist fusion of democracy and Marxist theory came a Jewish Socialist Leader, Leon Blum, who refused to join the Left Governments in 1924 and 1932, on the intellectual basis of denouncing any Communist led revolution for its failure to recognise the necessity to educate the people politically without which a dictatorship would arise.
An all important clear message that under the Claude Peguy expression, ‘socialism will be moral or it will not be at all‘.

He also perhaps recognised that the ‘imagination‘ of the people was a fantasy climaxing in the theatre of what in many countries are myth shaped marches and commemorations, the habit forming of attacking the Chamber.
The Veterans (nationalists and ‘Great War’ veterans) March of 6 February against the Third Republic was highly significant and marked the beginning of 10 years of instability. On Bastille day 1935 ‘Revolutionaries’ linked arms and marched in an orderly way down the Champs Élysées then were joined by a vast crowd from all parts of Paris. When it came to Government though the Communists they declined being a part of it preferring to (and destabilising progress) criticise and avoid any responsibility. Their position was strong enough to have the ‘ruling class’ – the Freemasons, propertied people, Factory owners become concerned and strikes ensued.
The reforms these obtained did nothing for the economy of France however and the German rearmament was to prove even more concerning.
Demands
The causes of Marxism and a new phase were subsequently hoisted by election into the programme. The ‘Popular Front’ with the communists having taken over the unions were seeking : Defence of Liberty, Defence of Peace, Economic Demands, these incorporating a forty hour working week, an employment fund with extensive investment in public works. International relations were a divisive element with the German rearmament under Hitler threatening all of the above.
Emblematic
Colin Darke is expressing in a grotesque form that theory which Marx’s cuts down his own revolutionary concept that need not ideas drive mankind.
Or something to that order. In Marx’s search for a system for all he takes the element of exchangeas the key ingredient.
What followed was a massive uplift in the capacity of mankind to produce through incredible advances in design and engineering; the location where ideas where the currency every capability was pushed culminating in a political act of landing on the moon.

What happens on this floor is pure grotesque bourgeois art canonised.
For it to be of an inconsequential book, even in Marxism is a poor outcome.
Marx and Newman
Francois Mauriac and others politicised France and led it collectively into the twentieth century which was also actually the cut off point for the pre-held grand order of art.
He said of Marxists that they forego the rendering of consciousness as dealt with, for example, by Newman in Apologia pro vita sua?
He even relates the most important thing of all which Newman famously raises, and raising it is, …’confirming me in my mistrust of the reality of material phenomena, and of making me rest in the thought of the two, and two only, absolute and luminously self-evident beings, myself and my Creator.’ Francois Mauriac uses this to show a large part of society has this philosophy or faith ‘fetichism’ which largely Markism extirpates is ever here. He realises the complexity that is ‘The Kingdom of God is within us’ and indestructible. Francois Mauriac despairs of the – (he says nothing of the other religions Sufism, Muslim, Judaism, others which constricts his thesis) – Protestant and Catholic ‘impossibility of communication between the two spiritual families.’ but he is fundamentally ‘prophetic’ as his time defined it.
Then he follows this immediately with the sentence which has for me summed up Marx and Newman.
‘I imagine Marx reading the Apologia, Newman reading Das Capital, and each heaving a sigh, amazed that any man should be so blind and so absurd.’

The projection being Marxists have refused to confront the that which every man born with and which Newman summed up in four words – ‘myself and my Creator.’
At that time the art world and creative talent of France became inward and self analytical to the extent new wave cinema and some elements of jazz – Einstein’s theory – became the principle higher means of expression. ‘I often think in terms of music’ and
‘As far as the laws of mathematics refer to reality, they are not certain, as far as they are certain, they do not refer to reality.’
Prettiness and Picasso
Prettiness with persistence only goes so far and in France it is signified along with the Marxist failures in perhaps one element. Picasso escaping fascist Spain brought his sense of art to Paris at a time when it had foregone the stimulus and direction as a centre of significance.
The Guernica piece being that recognition of all war. No artifice there.

This Upper Gallery is to have this work until October and it is not by any stretch anywhere near the attached hype surrounding it mainly postulated by the Gallery and not the Artist. It is a case of SO WHAT Miles once sowed.
Bicarbonate of Soda should remove the text and the letters can be reassembled to form a mist to then become part of another element.

image

TERRA FIRMA
The Ps2 space is a counterbalance to art that is a triviality and of inconsequential ideas presented with hubristic intent.
This time Rachel Campbell-Palmer has location and the perception reached through process that is repetitive, creating that place for each of us to inscribe in our minds, the effectiveness of the formulation conceived.
It is extremely and significantly embedded in the ‘construction’ task and the architectural outcome is the choice allowed by the constraints of site.
It is the same process undertaken to achieve all ‘good’ architecture.
As landscape architecture is dependent and this is both realised independently – inside/Ps2 – outside/people.
The fact is it is protected by the gallery walls and its containment which will bring little elemental damage.
Only the people will alter it.
It turns out – the methaphor of a cast mould – as a beautiful work. Never are each piece alike with the – in architecture and construction they are known as tolerances – specification of material and its method of casting being intuitive in the first instance, based on research and then in the act of using a cement mixer and creating each via, a mould. Terra Firma is a horizontal concept withstanding mountains which are adverse to buildings. It does not readily support human life forms.
The scale of the each element is perfect for the human to handle and the place. It is perfect in its engineering limits being neither over massed or slim to be in-durable. The diamond is capable of expressing width or length.
It is straight out of the move away from the orchard of design that dwelt in nature and of the machine contemporaneous structural forms which knocks influences, F.L.Wright Japanese, C.R.Mackintosh, Art Noveau, V.Horta, Naturalism, and previous decorative motifs into a consigned historical narrative with no value in repeating.
Those were of their time yet we continually see mediocrity emerge with all the collected misunderstood elements of the decorative age. I once worked on a project which was a lasting reminder of the Post-modern period which I dislike and like in equal measure. It was conceived in a global context with work concerns remodeling cities. Not a bit like The Titanic Building which I destest and detest in equal measure. Likewise there is an awful foot bridge in Omagh which defies beauty and design. It is a metalworkers dream.
I saw about twelve hard hats watch the ugly bow bridge being set in lace.
Beauty Fusion
F.Leger ‘Purist’ once said ‘ when Renaissance artists began to paint their mistresses because they are beautiful, art was betrayed.
An argument of sorts but without free expression of those artists, patronized or not, we would without the beauty of those paintings.
It does not explain either how it relates to the prolific works of homosexual artists whose work more or less would not have been as involved in that arena and it is trivial to make that as a point for art to suffer.
Where Dadaists could not build they captured shapes and technology combining the place and people within their art.
Forms and Formula
The works of architects such Walter Gropius made connections of forms which were poetic and beautiful. Le Corbusier as well saw nothing new in art merely that machines could extend the composition of beauty poetical and rhythmically, a thing also recognised by Leger.
Vers une architecture by Le Corbusier collects a fusion of influential buildings and objects to produce his narrative of thought for the evolution of the forthcoming Modern Movement. More readily he would have used the analogy of DNA had that organisation of organisms been as prominent.
In my mind it, design and architecture, need be associated in this mathmatical way (health is a great element in his thinking) with the combination of geometric shapes always conscious of their visual appearance and foremost their functionality – the justified means.
Justified and Ancient!

That it seems, is the realm of Rachel Campbell-Palmers piece operates, in that it again uncovers that collective of beauty – the scale as I mentioned above being human, liftable, – plain and regular is beautiful and the act of that theory is measurable in people reacting to it warmly and delightedly.

The texture is variable! the constraints not pushed into it or by the factory process of production is also illuminating.
The bubbles of trapped air on some fully filled blockswhen cured appear as the Italian specialist plaster Marmorina.
The Venetian plaster Marmorina (the word derived I think from of or like marble: skin of marmoreal smoothness.) is a beautiful grained finish which again is seen by the artist as an expression of the process. I love the finish and its variations are very something sought over in many an interior.

This work is very well accomplished and is combining the relations sought imaginatively and almost as importantly, as well as any sculptor may have worked on a similar piece in a Smithsonian way.
I loved the work and it will prove up to the exposure to people as it welcomes and invites you to walk on it.

image

EX TALK
Catalyst Arts. Jonah King, Frank Wasserstein, Ian studio director.
The words spoken are below noted. They have others in between but for reasons of uncertainty, intended, I write those which appeal most.
One word was added. Rehearse. It replaces the actions of the third component The Gallery.
In order to use space created by the list I have written alongside some.

I have also not stayed on the discussion, taking each word as it comes outside of discussion to form my own narrative.  This will also allow the artists an artist to use the   Words as I give them for their own point of departure.  It seems a natural way to act

MAY
REALM       There I was in the room with an expectation of hearing of the work
REACT            of Frank Wasser and Jonah King. The talk was begun by Frank.
REJECT
REHEARSE
EMBRACE
WATER    Font is needed by the writer of tales in text. A5 notebooks
IN
QUEUW   were never mentioned. Especially Fjall.
COMPLIANCE     I wonder if I have complied. I have I believe.
VERVE
VERB    I have remained silent listened to every word. Johan has a
SEARCH ME    subtext in mind.
OUTFIT    Later a security detail will be deployed in the Gallery.
PALPABLY           actors act the part. No one is suspected or targeted.
SEMBIOTIC    I don’t remember the context. Maybe semiotic, signs.
UNIFORM                Sembiotic is unreal but it comes from the
INVISIBLE    vesicouterine pouch which is where semen is lubed
MANIFESTATION
LONDON    This is late rain is falling
MARINA                        Oh what happened
ABROMOVITCH                        lights the night sky which illuminates the
RAIN                            carpet of cut grass making up the soft spaces between
SERPENTINE    lake the buildings cafe restaurant and paths
WAVESECURITY       Bob. B.   water spills and breaches are security on hand
SENSITIVE
OH
FIRE
KATY
STATUS
VOCABULARY
FONTS
FRANKLIN
INACCURATE           Words cannot describe what just went on.
CURATE         I take home a leaflet EX. It is white A5. 4no. A4 120gsm.
CRITICAL                          It appraises the work without becoming the main
EXHIBITION.                words to be spoken of the collection.
PROJECTS.       I hate the fact I miss the Nothing Happens. The
OPPOSITE                         Is true for some. Google your life to see if you have a
SLIM           chance of survival without scrutiny by someone.
TEXT                              Definitely. I caress text. I adore words. They must have
REASONS    to exist. Communication without the body is word based.
RATIONAL                  Sublimity overcomes subtlety sublimely.
UNDERLINED     It simply does no need to underline.
FULL             Happens.
STOP             You notice a change from a dot telling you to finish
KURT                              Reading his dairies.
SANDYCOVE                     The walk is over past Nora and green snot. O’Casey.
COBAIN                                         Is lost on an island
SLICE                    of torture fills inside veins
CUT                                knowledge comes with deaths release is only a song turn
OFF                                           start
WRITING
NOT.         writing but singing inside your head Einstein thinks in music.
COLLUSION              Of the garden of Gods angels overcoming Marx.
ATTEMPT             Thought, allow it in as truth
STATIC                             Lives do not exist. A Security detail has seen you standing.
INTERDEPENDENT                 Is the rule which must be satisfied so sex is
UTOPIAN          Narcissism encroaching outside the body onto another.
EXCLUDES.                    hate and crushes complacency. All else is
ANTAGONIST                       born. Settlement will take an age.
EDGINESS          Is a fear of the negative Jonah library of angst.
TENSION        Is essential our bodies are elastic our buildings plastic.
RECONVIGURATION              Happens to each individual and is sucked in to
REEVALUAAE        ‘ted so much by others they say, lie its every generation.
LLFET
PROBLEMS
BUROCRACY
GEOGRAPHICALLY
POLITICS
DISSATUSFACTION
TOTAL
CAPITALISM                Is harmful. do no harm.
IDEAOLOGIES      are a cornucopia of Utopias underestimated.
1977
PUNK     Is remastered rebellion in sonicses with copious drugs
SUBLIMATION
JUBILEE.                              2012 Is gone.
JESSIE J
POP                        art never became mainstream so how is it popular art.
CHARTS      of colour are handed out like chits giving access to emotion.
HOW.                            To acquaint your neighbours with Farrow and Ball
DIY                is bricolage and cant.
MANTLE.                                                              Is a lintel in a wall over a fire
VOCABULARIES                 can explain things more clearly but use poetry.
FISHER
MARK
JOY.       begins with the wonder of children knowing nothing of our ways
DIVISION.                                     Is a lane between the fields.
BEATLES                            negate the need for hardback books that
FUCKED
OVER.              writers in exaggerated respect for the subject they wrote on.
TIME         Is uncoupled from the past and future.
WORK                                         happening without planning becomes waste.
BIG.         Is not good an invention for self manipulation of Edmund Burke
SOCIETY                                which he thought empty.
FEED                the hungry of all races and denounce war done in your name
SWEEP
STATE.              meant truth but gave us lies
IDOLISES
STRANDS
FASHION.         A room into a domicile to escape the rain of frogs and
ULTRA.                           swings in climate and live close to soil that richness of earth.
ANARCIST                     Is really Anarchist but it is so like Antichrist I must
ARGUE.             Christ is that anarchist we need believe.
WITHIN            The word is the word. The word is like jazz the music of life.
RELIGIOUS.    Apathy brings sectarianism and looses out on loving God.
MYTH                           replaces truth see F.Ni.Mh piece hanging at St Mary’s right now.
CHICAGO            Is full of northern bigots despising southern bigots              TOTALITARIANIBM     Alister Cooke said much the same of  this

ESCAPE      From hype and rely on your own

POSITIVITY           and when you learn to distrust
SCHOOL
NEGATIVITY                  turns to a positive and a critical mass
TOOTHPASTE         Only enhances the smile of realisation.
CHANGE
POPULIST
FEAR
CHRONOLOGY               is realising words have as numbers set relation only visible
WEALTH     through reading will enumerate the
BUSINESS                   of communication while prose contains poetry in
ODD.      inexhaustable fresh recognition making it a place of
FACT      belonging outside reality with a mind to envision
PARADISE
RECREATE     first in your mind
INTERUPTING    societies reliance on regularity replacing
NOSTALGIC                     notions of culture. Culture is
BLACK                                              without art.  The
FLAG        of the White Star hangs over our arrogance.
DEFENSIVE
SHRIVES
CONTEMPORARY     art is full of resolutions on this
ART     as distinct from that
MARKET                           which is our
WORLD
NOTHING exists without God.

EX on Thursday 7 August opened with the escalating security piece Nothing Happens by Jonah King and I missed the experience entirely. It was to be the orderly of controlled space with the response of the viewer bearing the surveillance and tension of the presence of ‘protection’ of the almost empty space. It was intended to stir emotions of self infringement and the growing authoritarian elevation of security as an everyday fact. I am very disappointed not to have experienced this valued piece.

The above is opinion only it has limitations of access and monitors a reaction that is a personal reflection.
If it happens to fit aspects of your own views, literal and experienced it is very welcome. I hope you are inspired in some way.
The writing follows a night of consumption which was as a day full of unsettled weather. Elmore Leonard has a rule. Never start a book with the weather. It is impossible to avoid it as words are as amorphous as clouds.

The sun provides the light be it from the elements captured in the earth.
For ever and ever we gather light.

As the work of Graham Gingles reflects on the War Diaries of Robert McGookin from Larne his chosen title speaks of and is the strongest perceptive art seen to breach the minds boundaries. It is indescribable ultimately.

At times like these men where wishing they were all kinds of insects.

image

John Graham

11 August 2014

Belfast

Arts : First Thursdays

imageThe Evening Opening Routine

On the first Thursday of each month the ‘non – commercial’ galleries open on the late night shopping day, to attract the regulars and newcomers to what usually turn out to be very decent curated works. Some of it is evolving, some matured and most often it is radically opposed to the diet normally found in commercial galleries. While the commercial world has high end expenses and favoured locations with a recurring rota of artists with new ones added carefully and well highlighted work the task of providing the significant, challenging, experimental approaches, present mutation of ideas, imagination driven art is left to the so called fringe Galleries whose emphasis wish new work and practices and who tend to be heavily reliant on public support through Council delivery programmes; City, Arts, British or as elements of larger Cultural events sometimes driven directly from the DCAL patronage.

As I raised in the previous blog on 28 May Art : Perhaps on the clearly merited exhibition so short and under resourced, it is as track contrast to the multi layered ‘commissioners’ ‘specialists’ whose salaries swallow up funds that the Chairs and Boards of Studios and Independant galleries could much better create an Arts Belfast Collective. ABC? . The wider Collective taking in the similar Bangor, Banbridge, Newry, Derry, Armagh and smaller town expectations for a lively FUNCTIONING arts community.

Presently the Arts are prisoners of the inexact measurements, assessments and projections which are so far removed from the activities of the development of arts as to find itself pigeonholing directions aspirations and returns into balderdised columns and unsuitable questionable hype, ambiquious, amphiboles essays on art which I swear must be a prerequisite to secure a post on the Arts Council.

The management and platitudes serve them retaining face in the designs constructed by Governments and political choices. In the museums Art is censored and is subjective allowing very little narrative, just is art. This is how WE define art. The F.E.McWilliams gallery debacle is another case of censorship. The closet anyone came in the media to raising the possible presence of censorship came from an opinion piece writer whose ‘article’ in the Belfast Telegraph made little attempt at asking, understanding the Ulster Museums narrow window of ‘Troubles’ Art. The article was merit less and conversely speaks a great deal of the lack of arts education and adult appreciation of this extremely important part of our civilisation. What the artists who receive the least support and assistance.

One or two well publicized announcements of scholarships, awards, bursaries are not enough and are tokenism by the Arts Council and their masters. In the Arts : Perhaps series there is clearly a misapprehension of the value of education when all the authorities are interested in are the numbers and through-put. The support once graduation ends is minimal and not in keeping with the necessity for placements and life long learning.

The film industry has through its own valuable networking reached very high through its own capacity to communicate. it is in a communications business and plot material are often bread and circuses material with again few offshoots for experimental material. More prevalent, evident in France, Poland, Serbia, Czech Republic and other less well placed film industries. The difference is there is a cultural and educational belief which is wide spread in those ‘other’ places and though blood – Game of Thrones, Dracula, The Fall etc usually sell hence the indulgence chasing the dollar if not the explanation. The Humanities face problems in Belfast and Northern Ireland as they do in other nations. Queens University Belfast is classified as a STEM university and its Humanities Institutes have taken a hit in the recent decade. The persuasive element they apparently hold is with regard to Conflict Resolution.

Despite the conflict here being unresolved with successive regimes reliant on outsiders to step in and act as caretaker without any idea of the necessity of local dialoguer only; the preferred option is to create the appearance of peace while tearing any prospect of it apart while various selfish agendas are followed. The Universities are no different and despite the Arts being a discipline which has over many lifetimes delivered despite the smallest of real inward support, it is found again at the highest education level to be considered immaterial.

Never has the lack of Arts been pushed away from the basic level of education. Its fate has been to contain its overt significance in a middle tier strategy which will receive its patronage from the middle and corporate sectors and become a toy mechanic of culture with little expect for indigenous creativity. Art Education has been reformed into a Government – Society contrived symbiotic relationship which has all the intensity of falseness. The pupils who take on any part of the Humanities are the epitome of what is best among the civilized universe.

The new artists; despite the self destructive regimes of economic partisanship the leverage they create,  is bought up and sold back to the populus in assemblages of perceived value. The ability of science to apply technologies advances are themselves shifting and becoming democracised by new generations whose expectations have splipped off the constraints Governments unwieldingly pursue in response to elections and unrepresentative mandates.

The new generations of Artists deploy and collaborate much more effectively than ever, movements of Artists are currently, for example, unifying, signing up together to secure exhibition fees whenever they are sought to put their work into the public arena as a cultural component. the days of exploitation by Cultural institutions advancing their own niche is going to change with residency programmes, pooling of post- graduate and non graduate resources which hopefully will turn around the bureaucracy, the extremely inefficient, underachieving quasi political dinasors of the Arts Council and its relatives.

Catalyst Arts 5 – 20th June 2014

Just to relate some of the material present – the Ormston House quartet of artists from Limerick have put together a space responsive exhibition on light and sculpture.

 

All that remains to be seen is Jamin Keogh’s work in the side room.

In darkness 15 a4/size approx. light boxes contain transparencies each with bodily or oblique images relating to human fabric. It requires you to walk in the darkness along the line circling the room evident of other people also navigating and some stopping for periods to reflect on the images. Some sound is discern able but it is unclear. This forced engagement metaphorically speaks of the certitude death becomes which is a stimuli represented by having no choice if wanting to engage but to walk the line.

 

Untitled 12 x 650 amp lights, stands, sensor, 2014. by Elaine Leader

image

It is the first piece encountered as it is in the main front space. With it being on an open evening there is much more gained discussion wise as so many people encounter it at once. The conflicting experiences of this sensor operative piece is illuminating. That is what it is – again in darkness a necklace of studio lamps each with heavy wattage, each about five feet tall – all light up the entire space when someone or two enter the circle where at a point central they activate the lights. The he sensory overload comes to each differently and is compelling in its active destabalising or affirmation of the living experiment. Whether the number of people is influencing your response remains to be seen on another day.

Network by Paul Quast

image

Is a work with neodymium magnets, fluorescent tubes. A corner of the back room, again a dark space is where the above items are located. The box on the floor is the dynamic – see science box for explanation – it activates a pair of fluorescents burning off attained energy controlled by the box. The effect is strobe like and only a little disconcerting with other experience combining to loosen fear or tentative viewing. It is in fact quite neighborly and only its lack of functionality is of consequence.

Wardrobe by Lorraine Nesson Wardrobe,

Is mirrors, lights, 2012 A beautiful Mahogany Double cased Wardrobe sits off centre in the last darkened space. It is as if arriving at a dislocation of a temple as the lights wind round each space defining its back edge into which is transplanted a mirror to each ‘chamber’. The light if reflected in repeated diminished perspective into the vanishing supposed container of a deep tunnel seen through the Wardrobe. Though not referenced and no teen part of conception it nevertheless imitates The Narnia Belfast Bloomfield C.S.Lewis narration as well as the other fabled adventures. This piece does not offer adventure but describes I think other dimensioned reality. It appears cathedral like and of spiritual significance in a small way.

 

at Catalyst Arts from 5th – 20th June 2014

John Graham 6 June 2014 Belfast

Art : Perhaps?

imageArt Exhibition : Perhaps
A showing between – wait for it – Bank Holiday Monday Evening 26 May until
Closing 29 May 2014, the Thursday of the same week!

Gallery Catalyst Arts 5 College Court Belfast 1 http://www.catalystarts.org.uk

23 artists in this Ground Floor Space

No curators or teachers among the attendees of this BA Hons Fine Arts Student Exhibition opening night.

Art : Perhaps is the future of art being a group exhibition relying on sculpture and lens, printing, to show approaches of inner thought expressed by BA students here in Northern Ireland.
I cannot describe or respond to all the works seen at Catalyst Arts, 5 College Court, Belfast BT1 6BS which occupies that city space near the horrible statue the Black Man, Cooke. There is a short timespan and also 23 artists.
Art escapes the present and though created prior is active in being seen now by individuals in open exhibition. It is such a shame this exhibition is so short and closes on Thursday this week making way for the curation of the steady stream of exhibitions astutely put on by this relatively small Gallery space. They have a busy schedule and are restricted by time and finance in what they can mount.

Exhibits of the Group vie for wall space and floor space and thankfully few juxtapositions, close though some are, cause difficulty, though it is difficult not only being a group exhibition where you are looking at ONE small fraction of EACH artists work at this present time. The diversity of work each individual undertakes is vividly absent from contemplation. Not only that the Arts Council instead of finding larger individual spaces, including this one, rely on marginalised underfunded Galleries for art that is challenging, progressive, provocative and speaks of originality such as art can deliver. The chief of Arts Council Northern Ireland gets around £77,000 In salary each year with the ability to suck in more funds to pay for ‘specialisms’ to reward them for their advice and direction, and a broad range of regarded experts and ‘custodians’ literature the favoured nemesis. The continuity of obscene payments go on to the risen people whose doctrine fits the range of middling literatural culture favoured but never criticised.
————————————————————————————————————–

The Exhibition
Joanne McClary has six sweetly wooden framed drawings all equal size, each with mounting board providing a nice warmth of colour. – green, turquoise, blue, etc. She has drawn six p enculturation portraits of Vladimir Putin each having ubiquitous expression of this totem of power.
They are irrefutably vainglorious, pensive, declaratory, defensive and engaged. He is at his most malignant and imminently hostile.

Like the unfortunate Prince Charles remarks, made directly and not in response to art, (see also his Holiday venue of past years on Mount Athos, where for three years he, Prince Charles, spent around a week each year and then blathered about the Byzantine wonders of the Monastery he stayed at Vatopaidi. The one from which Father Arsenios scammed the Greek and EU to blistering millions and set up their own Real Estate company!) This art exhibition piece goes further ,harder, more inexhaustibly prescient, further in gathering so many ideas of the man behind the vile acts being carried out each day and hollers the reasons to us viscerally and visually.
Vladimer Putin in these drawings has the face paint of the clown.
Whether intentional or not the agonizing psychological state of many past masters of the Clown art come to mind being closely parallel to a different violent derangement as possibly pursued by this richest of world autocrats,. He is engaged in harming the LGBT community and Joanne Mc Clary shows with a video on a screen middle and beneath the portraits footage of hate crime and pursuit and beatings of homosexuals and people whose life’s are threatened daily by protagonists of the hate agenda being put into constitutional fixity by direction from Putin himself. His hate is extraordinary in its vileness and this is given great meaning and simple yet sophisticated focus with this brilliant piece of art conception.

Declan Procter has in the space split with the normal partition device Catalyst curators deploy ingeniously when separation is absolutely essential,.
To achieve the light levels and for a space to be shaped by Declan Proctor to create screens, walls, small structures, on which to receive his own films.
They are of the environs and edges, of fire water earth and air, onto the stud division wall dark painted and the inanimate floor, grey , scarred and uneven contributing to the defining logic of the piece of the continuous alteration of imagery. Into it comes on one wall a silhouette of one of the smaller object screens which Declan has obscured, leaving the o uter edges (much in the way Mark Wallinger has used in the past) to deny prompt appreciation of what you are looking at. Asking you again to define for yourself what you are seeing or reading. Four plastic stackable seats are at each point of the compass facing to the central piece, a small in itself strange changing yet fixed screen object – I leave out a description, the intention being on for each viewer to make what they wish of this astounding work. The compass points are perhaps a desire to root this work, or instead it may be pushing you into regognising it from a fixed chosen position. Also it may be that you chose not at all to sit but move all the time or sit on the floor and reflect become immersed in the many directions spiraling out of this well conceived work.  There are details which are worth also following.  The ‘chapters’ of film each are stories.

Aimee Hutchinson uses much smaller drawings and has gathered, obviously a small element of her subjective based work to exhibit, which is both socially appraising and shockingly surreal in looking at supposed real forms desiring other things. She documents marginalality and suggests hidden meanings, much of what are similarly banal, overtly strange and particularly weird, disconcerting. There are obviously other shades to this artists work and I would assume none of it is shaded grey. Though… well I leave you to investigate. The imagery is of people discovered on other media, sometimes fairly mainstream.

Dryan Wilson might get a mention just for his name, but more importantly the sculptural work in this exhibition requires and crystal out for more s pace, indeed Dryan has maxed the space given to him in organically swallowing the column he wraps a twisting spiral of same size wood units in a weave. It is as an invasive creeper, the tree becoming the inversion of the winding form and it reaches the full height of the room. Scale is important and the tree is surrounded by other pieces, less, same, more demanding in the confines of this Gallery as others. It is what it is, where it is.  There are of course other works of this kind, but what the viewer is unable to do is see this in the context of other work, its relation and development as opposed to being similar too.. Which is the refugee of art crituque everywhere.  Its derivation.  Sucks reading this academic diatribe normally and I  hope to avoid it.

image

Brendan McKinley who I spoke with at length has also one piece which is shown in one of the photographs here. This work is cleverly between the main and second space keeping its detachment, ( desired-and- focusing) is of three varied radial tree segment rings made up of individually narrow cuts of a few inches each bonded to the next, invisibly and meandering around like a wave until they meet up with the piece that began the journey. Three sets of journeys take place each of different ‘rough’ diameter and sit related as family in a corner.Brendan McKinley has many many pieces , each as stimulating in various relations and including symmetry with the other more random organic pieces.

A key part of this radical work using wood and its inherent meaning is a relation to sound, sound waves and patterns.
There is so much more, unseen most probably work which speaks into other artists work and relates to many everyday and human concerns and this small example is very clearly evidently prime art and not a simple primer.

There were other very fine pieces going here undocumented among the 23 in all artist contributors.

John Graham

27 May 2014

Belfast