Attracted by its bold colours and malleability the lightweight Japanese clay used by Bax suits her practice which typically seeks to incorporate a record of the action of making. Here the material accentuates the unique quality of each single entity. Bax often repeats forms and punctuates joints in order to emphasise the making process. The work carries instinctive gestures; using colour, form and texture to suggest an action or mood. Bax often uses a modular system in order to construct work on various scales. The parts that she makes are relatively flat but together they become three dimensional. She is interested in the space between two and three dimensionality, hinting at other possibilities and suggesting that it is in a state of flux.
Making objects out of brick clay is a challenge. The clay is rough and unrefined, fresh from the ground. It’s volatile, prone to moving at high temperatures, spitting out its lime content and other impurities long after firing. The highly textured terracotta fired finish contemplates the built structures that it’s intended for. As a material for figurative sculpture it offers a range of analogies around myths of origin, the earth as body, the search for knowledge through archaeology and the connecting discipline of psychoanalysis. These fragmentary artworks hint at excavations of historic dwellings and burial sites and the narratives contained within them.
His work partakes in a fascination with the materiality around us and within us. Together with the dialogue between formlessness and system, fluctuating from diktat to bargain and the surface contact that redefines both sides of an encounter. The ‘Bollard’ and ‘Collapsed Bollard’ reference the street devices used to prescribe movement in the built environment, but they are cast in images of our skin.
Dunhill and O’Brien
Dunhill and O’Brien’s film ‘Japanese Object 1’ is inspired by Japanese mountain culture and traditions such as Fujizuka and Suiseki. The film was made during a their residency at Youkobo Art Space in Tokyo in which they devised and made a series of prototype tools and accessories to make a ‘Japanese Sculpture’. The film depicts a physical and somewhat ritualistic process where they attempt to make a new sculpture together, entirely modeled and formed by geta, traditional Japanese footwear, with soles based on topographical information of two important mountain ranges in Japan. The film captures the at times competitive way in which the form was shaped.
Inger Lise Hansen
The focus of her work is on impermanence, transience, and ideas of change, shifts and “repositioning”. So that landscape and architecture that appear to be solid and permanent is experienced unstable and disorienting. Her film, ‘Travelling Fields’, the idea of geography and how it can be examined and visually reworked is explored in the dimension of altered time and filmic space. The film includes architectural elements and different ground surfaces in the Murmansk region, Kola Peninsula, Russia.
“Hewlings works upside down, inside out and blind, with structures that mould and hold liquid cement until it dries…. Although Hewlings’ sculptures deal, in part, with the phenomena of nature, they have nothing to do with either picturing or abstracting from nature. Instead they make up visual equivalents for memory and experience.” Sacha Craddock, catalogue introduction: Charles Hewlings: Recent Sculptures, Kapil Jariwala Gallery, 1995.
John Plowman’s practice encompasses studio and curatorial activity through which he explores his interest in the production of art and the site(s) of its production and exhibition. ‘49’er’ 2016 is one of a distinct body of work in which he utilizes a drawing process that mimics the trope of the gestural pencil mark without his pencil touching the drawing surface. The imagery contained within each of the panels has been generated by this process reflects on his daily perambulation through the urban location where they were made. Plowman has recently started to make films ‘What do I see?’ was filmed in rural Lincolnshire and is a personal reflection on his perambulations through the Lincolnshire landscape.
Nicholas Pope’s urinals and washbasin are prototype sanitary ware for both The Motorway Service Station of the Seven Deadly Sins and Seven Virtues and the Oratory of Heavenly Space, for which he has also made other prototype fixtures and fitting, which include chalices, lighting and vestments. If “plumbed in” the urinals and washbasins can be pissed into, fill with water and drain with dramatic whooshes. Likewise the lamps can be exhibited in their own light, the chalices can be drunk from and the vestments worn. However all are homage to and in the shadow of his esteemed colleague R.Mutt. 2017 is the centenary of R Mutt’s Fountain, Duchamp’s infamous ready-made urinal.
Heather Power’s work explores cities and the urban environment – drawing upon its visual and material language to instigate dialogues about its spaces in relation to sculptural practice. The works in this exhibition resonate with wider sensibilities of how a ‘city’ might be experienced or described by encapsulating glimpses of architectural elements combined with shifting angles and sight lines, making the viewer in turn perambulate amongst the sculptures.
In her paintings on steel plates, images are copied with carbon copy paper from her vast and diverse collection of photographs, ranging from fashion magazines to found photographs and artists own random photographs of sights and scenes that we remember through peripheral vision. These paintings are loaded with surreal scenes, with figures, objects and concrete, brutalist architecture that float in white undefined spaces. The architecture is reminiscent of Jelena’s home town, which was entirely destroyed during WW2 and rebuilt as a modernist utopian experiment, with inhabitants not able to cope with the challenges of new communal ways of living and pressure from ‘political and social mechanisms exerted upon them’.
Eli Zafran’s recent work may appear to lend itself wholly to the familiar Socio-cultural agendas: icons of Modernist architecture, built on the promise of a better future that has since gone wrong and not delivered on their ideals.
‘City in the Sky’ is a series of drawings of buildings in the process of being demolished. What was once created with utopian vision now makes way for the new capitalist venture of our time. ‘The Decommissioned Giants’ the floor drawing made with clay depicts four large decommissioned cranes that are currently standing as ghosts from a different time in the Bristol old docks.