16th of May

16th of May. 5am. How can I sleep?

This week has seen the attainment of my honours degree in Fine Art and an acceptance from Edinburgh College of Art to study Contemporary Art Theory with them. And its Degree Show tomorrow. “eek”.

I am looking forward to the event and appreciate the effort my friends and family have made with travelling up to Dundee. I have no idea what the night will have in store for me and ‘nervous’ doesn’t seem to cover what I’m feeling. It’s 5am. I can’t sleep.

Here’s a sneak preview of what to expect from me tomorrow, I hope to see you all there.

 

All

 

All That Glistens

Solid bronze cast of collected 1970’s baking tray

2013

 

 

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.

IMG_2643

IMG_2644

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.

int6

interAction(s) Week 3

interAction(s) shared between Rachael Disbury and Liam Dunn, 18th March – 22nd March.

Artist B was absent during Week 3 due to illness.  The closing event, scheduled for Thursday 21st March, has been postponed and the conversation is ongoing.

Monday 18th March - Artist A

 

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.

Relics Destall

Today, Viv and I gave a talk to a group of curators visiting from South East Asia, hosted by the British Council.

talk

 

We introduced our Relics of Attachment project and discussed the opportunities the curatorial team has provided us. It was interesting to talk with the group and compare art schools and curatorial programmes.

Talking about art and projects has become a lot easier than it used to be. Perhaps I’m starting to know what I’m talking about.

After the talk, we took down Relics of Attachment. The show is no more. But I’m so very proud of all we achieved with the project.