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

 

 

interAction(s) Away

Liam, Lada and I have had our project interActions(s) running in the Matthew Cabinet at DJCAD since February, so it was weird having to take it all down today.

Here’s a final snap.

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I’m glad to have been asked to take part in the visual dialogue. The experience added further depth to my work this semester and contributed greatly to my enjoyably busy schedule.

I’ve kept records of all the interactions between Artists A and B and the curator, both online and in book form. I would site this as a highlight of my art school career and am sad to see the cabinet blank white again.

 

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.

 

 

New (old) Toys

I went home this weekend past. That was probably the last break I’ll get before Degree Show. Its really getting there now. Three weeks to go. I don’t think I could focus anymore if I tried though. The studio, the assessment and what I’m going to do after June is all that consumes my thoughts. Sorry guys, I’m a selfish entity right now.

Since all I can think about is my practice, I’m going to talk about my practice. I scavenged some old relics from my garage on Saturday. This sort of thing spurs me on.

newtoys

Found in a large wooden case of shoe-makers tools that were passed onto my Dad. These were some favourite details I saved from the box. The middle piece still has a leather threaded through it, and the set of compasses contains a stub of pencil. I love these details. I don’t know if I’ll incorporate this material into my upcoming show, but I feel sure I’ll use it soon.

The art school likes to kick me out at 8pm these days ’cause it’s ‘Easter Holidays’. So I guess I’ll be off.

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.

int6

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.

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