Sat 8 January @ Sat 8 January – Sat 5 March @ Sat 5 March
Saturday 8th January – Saturday 5th March 2022
A group show of invited artists*
Articulating six diverse and highly individual methodologies
Featuring newly created pieces, works in perpetual progress and items from the past that have worked themselves into the present; SIX includes Jill Wilkinson’s powerful painting ‘Lost in a Lost World’; “Initiating Objects” (pre-loaded with potentialities) by Shaun Martin; the anxious and fragmented paintings of Charles Inge; Lisa Heath’s dramatic “Collision” sculpture, subtly adorned with silver; dynamic multi-medium assemblages from David Hamilton; and Fran Farrar’s deeply personal ‘Catching the Light’ series of abstract etchings.
Unifying the seemingly disparate artists is a sustained, thoughtful and often experimental exploration of identity, space and sequentiality.
Each of the SIX artists invites viewers to examine the expression of their diverse practices and methodologies and to arrive at their own unique interpretations.
I make abstract drawings using automated processes and mixed media, with whatever is at hand, applied with rags, hands, droppers, brushes, and sticks. It is a way of relinquishing control and allowing unexpected things to happen.
My work is about process and gesture – making art in a physical way and being immersed within it. Marks emanate from a spontaneous gestural dance between memory, mood, feeling, emotion, sound and what lies within my peripheral vision. I work in layers on several pieces at the same time, often changing the orientation, overlapping or integrating smaller sheets of paper on top, or working flat on the floor. Compositions gradually evolve and each drawing develops its own character reaching a conclusion over days, weeks or months. Threads link the works together, and repetitive lines and symbols maintain a continuity.
My work in this exhibition demonstrates how one’s life experiences influence the work’s conclusion. Good examples are First Cut-Isolation (2017) and Lost In A Lost World-Revisited (2016-21) – both were parts of a much bigger drawing started in 2016. I cropped First Cut from the original drawing because it was the area I liked the most. The larger remnant section of the work was abandoned for several years before being unearthed during lockdown, when I finally felt inspired to finish it.
My process is not about establishing order or finding solutions. It is all about letting go and uncovering ‘what lies beneath’. These works are an expression of who I am at a particular time. They are also a subconscious personal reflection of what is going on in the world and how it affects our daily lives.
I hope viewers may find a ‘way in’ to explore these abstract works. If they can connect with my art, it has fulfilled its purpose.
My practice has previously been characterized as having a complexly-woven, artistic-existential positionality; an observation which continues to reverberate throughout my practice today. My ongoing investigations into the triadic place-mobility-identity relationship, and its interconnections with art-production methodologies, has, nevertheless, been conditioned by an extensive and altogether transient lifestyle. The perpetual cycle of (un)certain restrictive modalities that accompany this – variously experienced as economic and spatial flux – has nurtured in me perceptible sensations of artistic constraint; in terms of limiting both my practice outputs and my access to the wider art-establishment.
To counter these specific problems; and intertwined with issues about ‘belonging’ and ‘place-making’; I explore here, my paradoxical desire to remain personally in-transit whilst simultaneously ‘becoming’ artistically situated. Recognizing my inability to extricate my everyday lifestyle from my practice concerns, whilst also seeking to unravel and subsequently resolve the perceived connections between them, I have been inspired by observing an eclectic range of subversive tactics used to counter various restrictive modalities (pre-)existing in other everyday situations.
By constantly (re)considering where both my practice and the artwork is located, and in pursuing the creation and display an original ‘idea’ also, I arrive at a nuanced position herein. Through a series of critical reflections about my lived experiences, I posit that the installation Initiating Object(s), is similarly both subject and object. Thereafter, any perceived future application for each component piece is simultaneously mapped out by the potential co-ordinates purposely embedded within it/them; either as a model, maquette, and/or sculpture (in its own right).
Exploring these issues further still, I am currently working in Melbourne, Australia – for the duration of this exhibition – but not before having left instructions with the show’s curators, and an explicit invitation for them (and the public) to move and (re)arrange any of the individual elements; thus, further contributing to the transitory nature of the entire installation itself.
I’m Fran Farrar, an Island based printmaker and artist who uses etching, monotype printing and painting to explore very personal emotional responses relating to identity and ancestry. My work uses repeated abstracted shapes and lines to express detailed feelings through a vocabulary of urgent mark making, some of which are further explored through abstract etching techniques. My intimate, short edition prints bring together environmental identity with familial connections through a repertoire of repeated symbols and images, and often make reference to transportive nostalgic recollections. I attach particular significance to the concepts of time and place, and my position within an ancestral chronology.
All etchings in this exhibition are part of an ongoing practice theme considering genealogical placement and childhood innocence. They frequently contain specific connections to historical pieces and are presented as such within a timeline of more traditional artistic works. The diversity of influence here includes the work of Vermeer, Caravaggio and Gainsborough, so presenting self-expression abstract etching within a context of historically relevant practice.
The series of etchings, ‘Catching the Light’ explore a childhood simplicity and innocent notion that light can be captured within ones fingers. The unchanging, continuous light creeps into rooms and vistas just as it did when we were children, yet as adults we can forget to embrace the intrigue and fascination of such simple, naïve actions as trying to catch it. Through the chaos of the modern adult world, we get to glimpse a forgotten reflection of our younger innocent self. Each ‘capture’ is taken from a different location, it’s individual character identified from drawings and paintings made in situ and repeatedly reworked until procedurally brought to a defining moment on the copper plate.
www.franfarrar.com Instagram: @Ifran_farrar
I work on the premise that when sculpture responds to the human condition, a collection of objects interacting with an onlooker evolves into an artistic collaboration that enhances our collective understanding.
I mostly use hand worked natural fibres, flotsam objects and precious metal clay (which upon firing becomes fine, recycled, silver). Natural fibres give a grounded nature to the work and a sense of continuum in the use of traditional skills to manipulate them. Found objects are mysterious, full of possible stories, purpose and travels. Silver is very special, it brings preciousness, reflections and brightness which beautifully lift the sometimes weighty themes behind the work.
The curious arrangement of these things, accented by my written thoughts, seeks to capture the attention and inspire a deeper consideration of our shared experience.
The art works in the SIX exhibition have arisen out of a life lived on islands; the study and practice of jewellery making, science and law; the inheritance of traditional textiles skills; and a lifelong interest in philosophy. They are united in speaking to our understanding of ourselves and to the navigation of life’s more overgrown trails.
Instagram: @lisaheath_artist Twitter: @lisaheath_art FB: LisaHeathArt
I started making boxes when I was exhibiting in different parts of the country and wanted to make packing and transport easier. It was also a way of making portable work which could be unpacked and spread out using the box as part of the piece, often as a plinth. The result is a kind of kit but with an unspecified purpose. Some boxes became quite complicated with compartmentalised interiors to house the different elements and linings to provoke potential meanings.
Imagine you find a mysterious object from a far-off galaxy or from so deep in the past that its origins are lost. Would it have meaning? Something drives us to find possible use or significance in whatever object we come across. If it becomes venerated it may well be housed in a specially made box or reliquary. In either case it would probably end up in a Museum rather than an Art Gallery. Is this a bit of wood or a piece of the True Cross? Is this a bit of old bone from a medieval stew or King Arthur’s shoulder blade? Significance lies not in the appearance of things but in the meanings which we attribute to them
Process & Purpose
I have often used Ceramics combined with other materials so that they complement and contrast their inherent qualities. In the same way the differences between natural, man-made and engineered objects creates a dialogue of forms and finishes. The aluminium components come from a company in Ryde. Most of these works are part of group entitled “Geomancy Machines & Divination Computers”: devices to predict or determine future events and instruments which might identify the harmonies of nature. Each kit can be set up in a variety of configurations and produces different outcomes.
Thoughts sitting on my shoulder when working and thinking about working
Archaeology and Anthropology
Lost Magic Kingdoms and Jantar Mantars
The Wooden Computer and Simulated Divination Boxes
Dr Dee’s Aztec Obsidian Mirror
Reconstructed reality and misconstrued meanings
Eduardo, Twombley and Duchamp
Atlantis and Ley Lines
Machines for Divining and Computers for Simulating Fetishes
Surrealism and Constructivism
Animal, Vegetable & Mineral
Sir Mortimer Wheeler
The Meccano Boxed Sets and Toys for Boys
Geomancy and game playing
Darwin’s boxed brass microscope
Crosswords and kind words
Simulacra and reality
Discarded and recycled things
Prescription rulers and diagnosis dolls
Red Lines and Green Lines
Maps of Unintended Outcomes & Events
And then of course there is always life to fall back on. If it does not fall on you first. I never really know what I am doing. I find that out as I go along. Like life really (see above).
Making a bell-jar painting. A how to guide.
STEP 1 Channel your inner child.
Use anything that makes a mark – something that you cannot control. (Industrial sander, power-hose, broken plastic toys, old mop, wet dog). For colour use paint (in buckets) inks, charcoal, kids’ crayons, sprays, raw pigment, stuff.
Apply the paint anyhow and without thought: flick, throw, pour, roll, dribble, squeegee, scrape or stencil.
Your goal is to create utter chaos.
STEP 2. Become a warrior
Your mission is to wrestle order from the chaos. Armed only with a paint brush you must search out the good bits and discard the junk.
Occasionally you will seem to be winning. But then chaos will gang up on you. (A bit like life, no?)
You need faith. You are driven on by the hope that, in the midst of this raging battle, will come a fleeting moment of calm. Be brave! Be valiant! Fight on!
STEP 3. Switch to Hyper-Alert Mode.
Keep your eyes peeled. Look out for that moment when the stars align, and the world holds its breath. If you are lucky, out of the corner of your eye, you may glance a fleeting, fragile moment of harmony… then…Pounce. Bottle that moment. And slap a bell-jar over it.
www.charlesinge.com Instagram: @charles.inge
Monday – Sunday, 9am – 4pm
* Selected from Quay Arts 2021 OPEN exhibitors