Let there Be

Let there Be

Let there Be

broken bulb, used foil & fishing tackle box

2013

Today I registered for graduation. I handed over three pages of forms and £40 and got handed back a receipt measuring 3x4cm. I don’t know what I expected. Champagne? Perhaps later. I came back to my studio and made some art. It seems all I’ve been doing lately is filling out forms and applications. I like organising and tackling little issues like this. But it’s nice to be truly creative also.

I found this tackle box in my loft over Summer and have only recently brought it to my studio. Some objects I find I instantly connect with and others feel disposable. This one is precious. The bulb and wrapper hold value to be too. And yet they have short histories and have seen little. The psychology of nostalgia is not as straightforward as the cliches would suggest.

South Wall

A working wall. Presentation and a pristine setting is meticulous in my practice. The layout and surrounding of my objects is a main component to the work. So I’m itching to start my final instal for Degree Show.

I would like my space to be secluded, and clean. Everything must be clear and provide space for consideration. I’ve planned most of it but I think a lot will come down to playing with the room when I get access.

On the South facing wall I will have an assemblage of my collections and pieces. The ‘less standalone’ work as a work itself.

wall IMG_2637

It will hold simplicity and clean lines, but also segments and the ability to explore this ‘working wall’. Staying in studio 606 for Degree Show, the room I’ve worked in all year, is significant to my sentimental concept. My reluctance to leave and take things out. This wall is going to capture that.

There will be a variety of intricate details that need to be scrutinised and spent time with, little pieces of text and specific hanging mechanisms.

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Graham Fagen suggested I go see Massimo Bartolini’s current show at the Fruitmarket. I always love to visit galleries and see art, but I can’t remember a time I’ve felt more connected to and inspired by a collection I’ve seen in a show.

I would advise anyone interested in contemporary art, particularly object art, visit the Fruitmarket. A particular moment for me was when watching the video dialogue with the artist. He makes a statement addressing that there is no difference between ‘doing something and finding something’.

I love that he says this so confidently. It is a question that often comes up when working in the form of object art… ‘What did you make?’ I made it all. I may not have physically constructed a portion of the items I use, but I’ve made them into artworks.

 

InterAction(s) Week 4 & Closing Night

interAction(s) shared between Rachael Disbury and Liam Dunn, 25th March – 28th March

B - 25th March

 

A - 26th March

 

Closing Event for interAction(s) Thursday 28th March 2013

Event

Lada Wilson, curator of the event, photocopied and printed all of my typed responses. She presented a pile of them on a table and invited the public to join in Artist B and I’s interaction.

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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.

In January

I’ve revised a piece I made a few weeks ago. The shine of the acetates on top of the moleskin pages was distracting and a little tacky I think. So they’re gone. Well, not gone. As if I could discard of anything. That’s the entire essence of this piece, that I’ve recorded my every action throughout the month of January. The acetate texts are now displayed next to the colour coded sheets.

It makes sense for them to be separate really. Thoughts are so disconnected from actions sometimes.

They’re shown here on pins above a radiator. I think the way the heat from this makes them dance. But degree show is in May so I doubt the radiators will be in operation.

 

go1

 

It was January in the (new) year, 2013

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

 

go2

 

I picked up two red steel boxes at the recycling centre last week also. Thought I’d attach one to the wall. Because…

I might use them to display my back up work. I might not.

I Want Your Baking Trays

That’s pretty much it. I want a collection of old and tarnished baking trays and cake tins. I want to arrange them and stack them, and make a sculpture out of them.

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I like to look at them. And they’re old, some dating back to the 60’s. Fascinating.

If you have any you would like to donate to my cause, please let me know.

Thank You.

 

A Problem I’ve Been Having

I’ve become so intertwined with my work.

I guess this is good. The stuff is just me. The problem is its so me that I’m protective of it. I don’t want anyone to know.

Perhaps, however, if they did know the stories of the work, it would help them to appreciate said work. A title provides context, but is it enough? Do my titles need to be more revealing? Do my descriptions need to be more in-depth?

Or can I provide a hint and a little bit of context and rely on you to enjoy it anyway?

yel

 

Everything I Know About Him

(2013)

spent matches, collected circles, text on trace, war used binoculars, rusted soap dish.

 

Do I have to tell you who ‘him’ is and what it is I know?

This is what I’m struggling with right now.

 

Frenetic

‘Frenetic’ is my new favourite word. I’ve been slipping it into conversations at intervals over the last couple of weeks and wondering if people actually know what I’m talking about.

FRE·NET·IC/FRƏˈNETIK/

Adjective:
Fast and energetic in a rather wild and uncontrolled way: “a frenetic pace of activity”.

I couldn’t sleep a couple of weeks ago. This isn’t uncommon for me, but there was one particularly awful Saturday night. I found myself awake at 4am knowing I wasn’t going to be granted any dream time. I got my project book out with the intention to make some more unrealistic to do lists or another elaborate sketch of a farfetched idea. Instead I started writing. Just writing. No stop for consideration, just impulsive words on paper. Mostly the same phrase over and over, with some sporadic moments of varied expression.

When Monday showed its face, I still had this phrase in my head. And the typewriter came out. Brilliant. Sitting on the floor of the studio with black coffee and pounding keys is good therapy. And you can sometimes make some art out of it.

 

Perhaps the writing is a physical representation of my overactive mind. Thoughts go round and round, every event gets analysed and scrutinised in detail.

I don’t like obviously confessional art. I don’t wish to submit a diary entry. Thats too easy for people to just get facts and nothing else. I like the ambiguity of the frenetic typing. I don’t want to tell you a story, but I want you to wonder what the story is about. I’m still expressing thoughts and relaying events personal to me, you maybe just don’t have a clue what I’m on about. And I like that.

I spieled for a good 48cm last week resulting in, ‘On Wednesday the 7th of November’, an object/text combination piece, I don’t really want to explain that one.

 

Studio 606

New academic year, new white space. I spent a week last semester painting the walls and scrubbing the floor of 606, in preparation for the previous 4th years degree show, so it’s only fitting I should inherit the studio.

Here it is, my new canvas.

I’ve moved some stuff in now. The addition of some collected objects and a pot of coffee has it suddenly feeling more ‘Rachael’. Last week was a bit lacking in productivity on account of 21st birthday related excitement. It was a fantastic week otherwise though. And following that high I’m now ready to make a start with the semester.

I find it easier to think about my stuff when I isolate and arrange my objects into compositions. Things look better when they’re displayed more formally, objects begin to become artworks when they stop being used for their original purpose, so I spent today putting shelves up and playing.

This is what I do.

I’m not completely consumed by any one idea yet but I have that exciting feeling that I’m onto something.

Things I’m thinking about:

Empty jewellery boxes

Old spectacles

Collecting information

Bananas

Obsessive sentimentality

Hyper recording of data

 

Make of that what you will. There’s a lot of little ideas floating around, I just need to grab and develop them.