Chair 2

Installation, mixed media, April/May 2009. Final piece for my first year BA Fine art.

Not Waving

Digital Print of site specific installation, July 2008. It is part of a series made during my foundation year on an environmental theme.

Then and Now

Site specific installation and constructed photograph (January/February 2009) recreating an image of the Lodge c.1910.

Rain is coming

Acrylic on canvas (89cm by 178cm), April/May 2008. Central panel of a triptych painted during my foundation year.

Life Drawing

Charcoal on Paper, February/May 2009.

Recycling Poster

poster

Digital Print(A3) made for Events Day to encourage recycling around the university campus.

Encounter with an Art work (4)

This is the last installment in the series of 4 reviews of Epstein's "Jacob and the Angel"at Tate Britain.

My first review was a general observation, the second described the experience of different approaches to the piece and the third looked at the sculpture in the context of the surrounding work.

Today I have decided to look at the sculpture through a physiotherapists eyes (my former career).

We are told Epstein is depicting the moment Jacob's hip dislocates and he gives up his struggle with the Angel. The artist expresses Jacob's surrender in his slumped posture. Jacob's right knee is flexed and his heel is off the ground. His right leg is slightly turned out as it would be in life with such an injury.

 I was drawn to the Angel's stance. He is solidly supporting Jacob, but in reality he could not. His right knee is bent with all his weight forward on his toes. Perhaps Epstein is showing him slightly off balance as he holds Jacob up. I believe, however, that he is emphasising the Angel's heavenly power. The Angel is drawn skywards and is able to support Jacob where a mere mortal would topple over and they would both fall.

my art writing assignment, 'handwriting'.

i'd like to thank my genius  daughter for coming up with that amazing title... then again, she did deleted the only back up copy of this so maybe i'll be with holding that gratitude.

above is our group exhibition review which i did with pamela. 

Above left - winter photos, below- Alex`s illustrations.

Two small studies, path to paddling pool and abstract of mould on door.

Here are some of the Autumn photos. Frames had to be hung from the picture rail, but I would choose less visible cord in future. We thought the double hang, one above the other , worked quite well.

The 2 images here are from our recent show, Then and Now". I exhibited with Alex, who is an illustrator. Inside the Lodge, we showed our 2D work. Alex had her life drawings and illustrations and I hung paintings and my photos of the woods taken over this Autumn and Winter.

I had a site specific installation on the porch for the private view(above right). I wanted to recreate a scene on a postcard from c1910 of the Lodge, and so I made life size figures from MDF and printed poplin and composed them on the porch.

Encouter with an Artwork (3)

On Sunday March 8th I returned to the Tate to view Epstien`s "Jacob and the Angel" for the third time.

On my last visit, I explored the different experiences of approaching the work via the stairs from the Manton entrance versus coming in from the ground floor.On this visit I looked at the work in the context of the paintings in the adjoining rooms.

Coming to the sculpture from the ground floor where "Altermodern" is presented, in the room to the left are paintings by William Blake(1752-1827) and Cecil Collins(1908-1989). Both were known as visionary artists. Angels are represented in many of the works of both artists in this room. "Good and Evil Angels" is a very powerful image of Blake`s, as is "Angel and Flowing Light" by Collins. The Angel appears to be a very potent symbol to all three artists, and I think the grouping of their work together adds strenght to all their expressions.

On the stairway coming up from the Manton entrancethere hangs a huge canvas(oil) by Frank Bowling(b. 1938) titled "Mirror", 1936. It shows a gold spiral staircase with a man descending(ascending?) and a blurred figure coming up from the bottom. The palettte is bright- oranges,reds, lime green, gold, violet and indigo.Standing infront of Epstein`s sculpture, the painting is in the background. It has a religious feel, and I believe the two work well together.

Today I am catching up with my blog. I was a bit poorly with a horrid virus over the end of January/early February and am afraid silibats spot was rather neglected.

My mid year uni review was clouded by feeling ill, but I managed to do preparation before date and then had to take time off after to fight off bug. I am waiting for feedback meeting which should be soon.

Have been busy since return to uni with show preparation. Alex and I decided on "Then and Now" for title and were offered an extra week which we have accepted. It means we open a week early (no pressure), but private view remains on 27th as invites had already gone out.

Digital darkroom and printing have been very helpful, and I am now ready to start carving figures for lodge installation in 3D workshop. I am looking forward to it as now feel there is a small chance things might come together in time. Managed to do all the preparatory paperwork this weekend, and we hang the show on Thursday. Going to be a busy 2 weeks.

Since last post Pam and I handed in our joint review of Lozano Hemmer`s installation at The Curve, Barbican. I managed to see War photography during my visit, and loved Gerdo Taro`s and Robert Capo`s work. I shall post review and invented artist film soon, along with my recent work.

We had events day on Tuesday Feb 3rd, but following "Snow Monday" uni was sadly a bit quiet. I put my recycling posters up in the galley and canteen as arranged, and saw some of my fellow students work, which was fun.

I am looking forward to seeing some of the other students shows soon too. Now we have brief for our final year 1 essay, I think I will start to research but will leave writing until after our show to have some breathing space

15.02.09

Today I revisit Epstein's Jacob and the Angel at Tate Britain.  The title of this assignment is "Encounter with an Art Work".  I would like to compare my impressions of the sculpture when approached from different routes.

On my last visit I came into the Tate through the main entrance.  Passing through the swing doors from the main gallery the sculpture stands to the left of the stairway.  From here the viewer immediately sees the work full length.  Jacob's back is towards you and the Angel looms over Jacob supporting his collapsed frame.  The top of his head and wings are visible over Jacob's head.  I was immediately struck by the power and solidity of the Angel as he clasped Jacob's limp frame to his chest.  I could immediately observe the relationship between the two.  

Today my approach is from the side entrance to the Tate.  Climbing up the stairs the sculpture gradually comes into view on the right.  From here the back of the Angel is first seen.  The rectangular from of his wings and the top of his head are visible.  It is only when you arrive at the top of the stairs that the full length of the sculpture can be seen in profile to the right.  

The two figures are chest to chest, the Angel displays strength and stability in his wide erect stance contrasting with Jacob's limp posture.  

I think this is a very powerful work which can communicate with the viewer when approached from either angle.  However, for me, the entrance from the main gallery is the more exciting because it affords a full-length first impression of the figures rather than their gradual appearance as you climb the stairs.  

I do not know if Epstein created this sculpture to be shown in Tate Britain would be interested to find out if it is a site specific work.  Did he want it to explode into view or slowly unfold?