Obsessive Sentimentality: Refined

IMG_8370My work for DJCAD’s Degree Show this year is now officially installed and presented. And I feel numb. So I have little to say on the matter at the moment.

Other than a huge thank you to my friends, family and tutors for all their help and support. Special mention to ‘Mother Harriette’ for her patience and helping hand this past week.

Here’s something I prepared earlier, some accompaniments to my show.

 

 

cover

 

We do not cling to the past. The past is a by-product of a reluctance to let go of the present. We build collections to record a spectacular presence. All but the cataloguing is lost. Objects become something different: an image of recollection. They have shed their intended usefulness and now serve to be viewed and maintained. Rachael Disbury’s work surrounds this notion. The artist creates entirely new objects through a change of context and purpose.

Assemblage and installation based, the work is contemporary in palette and form, straying away from the ‘kitsch’ often associated with hoarded collections. Typed text is combined with gathered objects and constructed displays. The use of recognised items allows the viewer to look at the familiar, in an unfamiliar way.

The artist’s current research addresses the question ‘What Makes an Object an Artwork?’. The answer is multi-layered; the intention of the artist, the perception of the viewer and the curation providing context. Rachael Disbury’s practice is based on a belief that these components go ‘hand in hand’ in the experience of an artwork. Perception, purpose and placement are key factors in the resulting interaction.

 

 

If No-one Else Wants You

This weekend saw a two day exhibition set in an underground carpark in Dundee (quirky setting, yes?). The project was called The Undesireable and I put together an assemblage for the event.

“The invention of the ship was also the invention of the shipwreck”

(Paul Virilio)

Beneath our accelerated modern culture lies a world of inconvenient truths: people, places, events and inevitabilities which we would rather forget and perhaps all too often neglect.

The ancient divide between reason and unreason, order and chaos, sanity and insanity is in some walks of life as pertinent as ever.

 

Sometimes it’s bad to collect, its bad to hoard, its bad to hang on to. How can we move forward if we’re cluttered with the past? But I’m saddened when others do let go. And that’s what this piece is.

If No one Else Wants You

 

Detail

If No-one Else Wants You

clay replica binoculars, hoarded candles,

collected baking trays and drawer

& preserved banana peel

2013

 

My work is usually so clean, so I’m not sure about this grungy aesthetic. But I feel its in tune with the brief I was working from. I think I’ll stick to white walls for now though.

Fun A Day

hiFriday night saw the exclusive exhibition of work from Fun A Day Dundee, 2013. This was a project where the objective was to make a piece of work a day for each day in January, and to have FUN. And so we did.

My piece consisted of 31 acetate frenetic texts placed over 31 moleskin pages with colour coded squares of what I did that day. The result is actually quite a personal piece, which I’m not sure I like. I felt slightly exposed with it just hanging there.

A worthwhile show though and I’m not gonna ditch the piece. I definitely feel it should be altered in some way though.

 

Fun a Day

 

Detail

 

 

It was January in the (new) year, 2013

31 type on acetate and 31 coloured pencil on moleskin squared paper

 

 

 

 

 

 

 

 

For more info on Fun A Day, go to: www.funadaydundee.wordpress.com

 

6×4″

Today started with accidentally pouring boiling water over my hands in the process of making the morning coffee. This day is very much on a knife edge. Plus side; I completed my submission for an upcoming exhibition entitled 6×4″.

The exhibition calls for the submission of artist designed postcards and will take place some time in February I think. More information when I know!

In the meantime. Hiya, here are my four 6×4 text/collages on acetate.

pc1     pc2

pc3      pc4

These kind of revert back to a style I haven’t worked in for a while. Although my work is always nostalgic and sentimental, these have that ‘older’ aesthetic I used to rely on so much. I’m glad my work has moved on, but this was a little personal piece I wanted to work on for the 6×4 exhibition.

The collages include map pages from a found second-hand atlas, doilies from a hotel I stayed at in Paris, an old photograph of my Mother’s parents, and typed repetitive phrases.

Ah where would I be without my nostalgic dreamings…?