Precious Exhibition 29th March 2012

Prior to this event, I knew very little about the type of art work which was going to be shown. However I was aware that this particular exhibition was a kind of DIY show taking place in a basement in Hyde Park. Put together by a group of twelve fine art and graphic students who are named Emblemen. The almost ironically named exhibition ‘Precious’ was perhaps one of the more interesting locations for an art show that I have been invited to.

Being a student in Leeds myself, I have seen the sort of unused basement in many of the houses. So often they are large, empty and cold, but they also work as a readymade art space. Arriving at 9 Hyde Park Terrace, the evening was in full flow with a large group of students, ex-students, and the general public alike all outside this wonderfully inquisitive building. After being asked to wear a screen printed mask whilst inside the exhibition, I decided it was time to see what all the hype was about.

Going down the steep stairs, the basement was as to be expected, the remnants of past parties and graffiti on the walls. However what this space had been turned into was utterly fantastic.

The layout of the space meant the show was divided into three rooms. The first one which I ventured into housed two artists, Abi Moffat and Chris Holdsworth. Moffat’s video piece, ‘Ripped’ set a wonderful tone for the room, and alongside her sat Holdsworth’s ‘50’ jars which had been created to represent diseases, which were really enhanced by the underground setting.

Leaving this room, it soon became clear that the mask I had received earlier was part of a live art performance piece by Sam Ashcroft suitably named ‘About Face’. This invited the audience to come and have their faces painted by the artists, however being asked to wear headphones they become oblivious to their surroundings.

Wandering around it was clear that although these artists had not made work in response to the space the pieces all seemed to fit in with this environment. One piece which was almost brought to life by the space was Kate De Lord’s ‘Feud’. A work made from various materials, but it was as if the piece was growing in amongst the area itself. Although being completely different but similar in the way it became part of setting was Rufus Newell’s ‘Antipathia’. This on first glance looked as if it was the wall, but then I touched the sticky ash and honey combination, realising this was a very clever use the surrounding.

The wide and varied mix of art pieces certainly breathed new life into a once forgotten space. Allowing the space to adapt to the work, there was no theme to this show but the artists clearly all held the same quality and views. The ability to turn nothing into something, an otherwise abandoned student basement into an exciting art space.

Leeds Gallery The Yorkshire Artists Part 2 Private view – Tuesday 27th March 2012, 6.30pm-8.30pm

At present in Leeds it almost seems every time you turn your head there is a new and exciting art space being added to the cities vibrant art scene. Amongst the many new but certainly with a difference is Leeds Gallery. Having been invited to the private view of their current show ‘The Yorkshire Artists – Part 2’ it was a great opportunity to engage with this gallery for the first time.

Expecting the typical semi-converted warehouse gallery space, I was pleasantly surprised. Met with two grand doors and after ringing the door bell you were able to enter the space. Walking in, I could sense that every care taken to ensure the quality of the gallery. However I couldn’t help thinking that this space had a different feel to it. Having a quick glance around I realized that it was a beautiful commercial gallery. A pleasant change as so often the art world seemingly forgets that there are many talented artists whose work is aimed towards a buyers’ market.

Instantly on arrival you could pick out three very diverse, yet distinctive artists. Helen Peyton’s bold, bright prints immediately whisk you away to a bygone era. Peyton’s simplistic yet wonderfully playful pieces are of retro household objects. For me, when viewing her pieces, the audience has the chance to be taken into a house from a different time through her printed selection of everyday objects.

Opposite to Peyton’s work, was a wall with a checkerboard display of Tom Wood’s wonderfully colourful oil paintings. These consisted of a selection of side profile portrait paintings of birds, such as ‘White Peacock Study 1’ and ‘Flamingo’, alongside studies of two women, Elinor and Joanne. Almost it seemed the artist was making a comment on the notion of the word ‘bird’ used to describe women. Wood out of the three artists perhaps had the most diverse mix of pieces, having a collection of realistic bird paintings, studies of women, a range of life studies and some self portraiture pieces. The large triptych of women portraits, for me was the most powerful in Woods collection, in particular ‘Women with Hat’.

Interspersed with Wood’s painting were Colin Halliday’s oil paintings. In contrast to Wood’s work, Halliday’s pieces are primarily emotional responses to Northern landscapes. Vibrant and lively, it was almost as if the paint was moving in amongst the landscape. The paintings seemed to have been placed together because of their colour palettes, which worked and gave a good flow to the collections. The two pieces, ‘Passing Storm’ and ‘Buttermere Storm 1’ seemed to have the most energy because of their subject matter.

A wonderfully curated show of three Yorkshire artists, all of whom obviously engaged thoroughly with a varied subject matter in their practice. A lovely space and I look forward to future exhibition which take place here.

Wet Paint Exhibition Enjoy Art Space, Unit 22c, Mabgate, Leeds, LS9 7DZ Opening night 16th March

So often the exhibitions which showcase the best and new talent within the art world are under the title of a ‘contemporary art’ exhibition. These seem to translate as a group show offering a wide and variety mix of art works, through the use of a range of mediums. When an exhibition embraces one element such as painting, sculpture, film, it seems to give the audience a chance to engage with the true nature of a particular art practice. These exhibitions allow the viewer to become more connected with how an artist response to a certain media.

‘Wet Paint’ was first brought to my attention by Richard Baker, a tutor at Leeds College of Art, who was displaying his painting in the exhibition. As an art student being offered the opportunity to see one of your tutors work in an exhibition space is always a chance to be able to understand them better as artists and peers rather than primarily as an educator. Alongside looking forward to seeing Richards work, I was also excited to visit Enjoy Art Space an exhibition space in Leeds I was yet to see.

Arriving slightly late around 8pm, the space looked almost shut, mildly puzzled as to if I had the right place or the right date, but the door appeared to be open so I entered. On first glance the place was not what I had been expecting at all, a fantastic and interesting space with stairs seemingly going on forever. Looking around it appeared the space was also studios as well as housing the exhibition. Having climbed to the top of the stairs, I reached a wonderful room filled with paintings.

Instantly I was searching for Richard’s painting the piece which I had come to see. Delightfully small, yet beautifully proportioned was ‘Collection Only 019’ a painting of a chair but with no one sat in it. The usual context for a chair in painting would be to have someone placed upon it; however the notion of it being left empty was an interesting one. Next to Richards work was Lee Buccilli ‘Pink Puma’ another small scale painting but of a helicopter. For me the exhibition had a great sense of flow, a mix of scales of painting all sitting comfortably against each other.

The humorously named ‘Every Little Helps’ by Victoria Frost, was a photoshopped college of a pre- Raphaelite, whereby the figure lying in the water had a Tesco carrier bag over her head. Although not a painting itself, its play on the notion of a painting was interesting. Perhaps another playful experimentation with paint was Steven Gee- ‘Idle Monochrome’ (Purple) gloss paint on wood. I call this playful for a personal reason that, for me, it looked like a tongue! It was almost if the paint was leaping off the wood and appealing to the audience. It still seems to be rare, that paint is almost used in a three-dimensional way in modern art.

Perhaps going back to modern day painting but in a conventional way, were Judith Tucker’s pieces. Two beautifully bold and bright pieces, which seemed to explore the natural versus the un natural, with the title of one being ‘Where The Concrete Meets The Trees’. Again on a larger scale, Mike Powell’s ‘Flight’ this really allowed an audience engagement. As a viewer you had to look at what first seemed like colours, to understand that there were in fact powerful images embedded inside a sea of paint. I have just begun to scratch the surface of the paintings in this exhibition but these are the ones which I was instantly drawn too.

The gallery space was not what I was expecting, but I am beginning to expect the unexpected as the art world in Leeds increases. The artist and the viewer have to become much more engaged and aware of a setting, as we see less and less of the classic gallery space. I look forward to more exhibitions from this space and others that seem to be springing up around Leeds. The choice of paintings all sat extremely well in the Enjoy Art Space, and I did just that, I enjoyed the exhibition, thoroughly.

Glamourie Event Allure Leah Capaldi a performance work alongside film screenings Thursday 8 March, 6.30-9pm

Having attended the recent Glamourie event at PSL, Anthony Clavane in conversation with John Lake, it had sparked my interest for this series of interactive evenings being hosted by the gallery. Running slightly late I headed down the Allure for about 7pm, I was slightly unaware as to what to expect as the description had left it slightly open to interpretation. However it was the film screening element which interested me. Working with film in my own practice, it is great to see how other artists are engaging with the process.

I walked into a slightly quieter than expected event, but nonetheless there seemed to have been a slight change to the work that was already being exhibited there. As there were films now being projected around the art pieces. Probably a misread on my part as I was under the impression it was going to be a performance. Perhaps my own nativity but I was thinking more along the lines of a live art piece.

As I entered the gallery there was a distinct yet pleasant smell which I was unsure what it was or where it was coming from. I decide to let my senses guide me around this event. Heading towards the main space, where the continuous exhibition is being hosted, there were two films being screened, Dinner at Eight (1933) and The Subterraneans (1960). The idea being that these films would touch on the subjects of glamour and seduction but with that uncomfortable darkness to them. The films were the sort which you never feel quite right watching, but yet you can’t stop and walk away.

I had a quick glance at these two but wanted to find where the smell was coming from, and also the third and final film. Attached the main gallery space is a good sized separate room, and this is where the over powering aroma was. This was also where the third film was, Society (1989). It was the smell filling the room which kept me there more so than the film, but nevertheless I took a seat and started watching. Being drawn into the story of the film, I began to relax, but the aroma was so intense that I can smell it now even writing this review the next day. The use of the sense of smelling in art is one which you don’t find very often. I imagine that it becomes the point, that as the viewer you are meant to associate the artists’ choice of smell with certain objects, feelings and in this case the film. If I do ever watch Society again, that will be the association for me. Having watched a good length of the film and interacted with the smell, I wanted to take the chance to have a look at the other films.

The other films, although appropriately touching on the subjects, glamour and seduction, left me feeling quite different as they did not have any smells to accompany them. Unfortunately I couldn’t stay to see the films all the way through, yet I still managed to get a good sense of what I feel was trying to be achieved. For me, it seemed as if the Capaldi, almost wanted the viewer to have a full body experience with the films. I say this because of the smell element. It wasn’t a novelty factor that the smell was meant to represent what was on the film, it seemed more personal to the artist. Almost as if by engaging with the smell, the film became more attractive and appealing to the viewer because of the artists input. The room as well became more relaxed and intimate rather than being the usual space which is occupied by a film.

The evening itself was different to what I was initially expecting. However the films on show could be engaged with as film pieces, but the addition of the smell for Society definitely changed my perspective. If the use of aromas in art works if done well it can really alter what the viewer is seeing or how they leave feeling. Capaldi certainly does attempt to give the viewer a new experience within the classic film screening in art galleries, by one key element, a personal touch.

Adam Dant Leeds College of Art 2nd March 2012

One of the great things about being a student at LCA is the scope of internationally recognized artists who visit to give lectures to discuss their practices. For me, it is always fascinating to hear any other artist talk about their work, as it gives me more confident for talking about my own studio pieces. I was previously unaware of Dant’s work, however the enthusiasm from the tutors implied his lecture was not one to be missed.

Taking a seat in the lecture theatre, Dant walked in wearing a fantastic pair of red velvet trousers and after a brief introduction from Sarah Taylor, he began. Dant opened explaining that his earlier work would be shown through the use of a slide projector which instantly made me smile, having a love for old style projection equipment myself.

When giving a talk to art students I always feel it is important that the artist tries to give a brief history of when they first left university or college. Enabling the students to understand that becoming an established artist doesn’t happen overnight. Dant started the slide show with the creation of his wonderful character Donald Parsnip, who was brought to life in 1995 whilst Dant worked for a bus company. Donald Parsnip was writer of the newspaper Dant would hand out every day on the bus to the public. This, as Dant called it ‘art on the hoof’ enabled him to build a body of work and later Donald Parsnip was asked to write a column for the Sunday Telegraph.

Dant having 20 years of art work, under the practices of fine art, printmaking and graphics, it soon became clear the extent to which this artist was renowned for his contributions to the art world. He spoke with such vigour and delight about his own work that it would be quite accessible for me to write an extensive piece on his practice from this talk alone.

As the talk progressed there were some definite themes which came through within Dant’s practice. One of the key concepts was the idea of the artist occupying the public space. This came through in the Academy for the Improvement of the French Language. A project which he asked 40 French students to listen in public spaces for words which sounded French but that did not actually exist. These then became the bases for a published dictionary, which would be incorporated into the everyday used language.

Later work consisted of work whereby he and other artists would investigate classical paintings looking for subliminal pictures within the art works. The group was called Bureau for the Investigation of the Subliminal Image. However the pieces which really stood out for me were the fantastically intricate drawings of personal maps of Shoreditch. As well as the drawings round the fall of the London stock exchange. What was great about these pieces was their underlying black humour and the way that even whilst Dant was discussing the pieces he was laughing with the audience. Often we forget that art can have a humorous edge to it. The collection of maps he had drawn reflected extremely personal places to him and how those places had changed over the years. A phrase which he said and has stuck with was ‘if you can’t make work from outside your door, you can’t call yourself an artist’. Reminding me, as an artist that work should be personal to you.

For a Friday afternoon I couldn’t help but feel that Dant’s lecture not only lifted my spirits but all audiences mood as well. This is just a brief insight into the wonderful body of work that Dant discussed as his practice is so extensive. However a lovely finishing touch to the lecture was the gift of a booklet of Dant’s drawings, and as he said a prize for those who made it through his talk. For anyone who hasn’t seen Dant’s work, I would strongly suggest looking him up, for some technically brilliant drawings but also for art which will make you smile.

Nine- Five – Nine Work Together, Play Together 5-9pm Thursday 1st March 2012 14 Park Square East, Leeds LS1 2LE

The idea of hosting any art event in one of the many disused shops and office blocks, always strikes me as such a great way to breathe life back into the streets of Leeds. This is the fundamental idea behind art in unusual spaces. The most recent art events I have been to, appear to be showcasing for one night only, and Nine-Five-Nine was no expectation. The themes for the show were around work, play and collaboration. Excited mostly by the film screening which would be happening I headed to the space when the exhibition would be in full flow.

Outside what appeared to be part of an office block, you were greeted with a giant game of scrabble which set the tone for the evening. As the audience entered, the space was separated in to three main rooms. In the first you were met with a series of video pieces placed around the room with sets of headphones. Alongside there was an area at the back offering you a chance to write your opinions on what work and play are and a piece which invited you to stitch freely. Next to them was a small room which housed the Village Bookstore, hosting a selection of publications by various artists. This space offered you a chance to read some of the books in a comfortable seating area. Nice, but I was left slightly confused as to why it was there. For some reason it would have worked in a standalone show but didn’t seem in keeping with the rest of the evening. However there were some really lovely publications.

The final space played the selection of videos, seven in total which played on a reel. One aspect of this room which left me disappointed was the positing of the projection. Whether it was intentional or not, the wall which the videos were played against had a piece horrible white plastic running through the middle of it. Surprisingly for some the videos it actually added a nice effect, but for other it seemed unfortunate. Nevertheless, I thoroughly enjoyed, ‘Fun String Circle’, a wonderfully fun piece, whereby the artist simply drew himself inside a circle of silly string. ‘Slow Down’ a delightful video where the woman in on the screen almost became the gramophone and ‘What do you think I think about you’ two bags attached to the back of bus chairs which when the wind caught them directly they almost became life like.

However, having visited the exhibition, there were a few things which left me wondering. On arrival at the show, I expected to be shown work which engaged with two themes, work and play. However leaving the space and thinking over the pieces I had just seen, I became unsure if the exhibition had been trying to touch on these themes or if in fact it was based on play within a work setting? The video ‘Ministry of Fun’ seemed to have an office setting and the aim of the video was to make people (or actors playing) at work, laugh. Perhaps playing on the idea of the impersonal world of office work? The show had a fitting notion of being held in an office block, yet this space was small and cramped when more than a dozen or so people tried to get in. However, was the intention to re create a claustrophobic environment?

Nonetheless, it was an interesting exhibition placed together by Leeds College of Art and Art in unusually spaces. Yet, for me, there were just a few attentions to details which left the show with a slight incomplete feeling. However, the event certainly lightened my evening and I look forward to seeing the work from this group of artists at the degree show.

(In)xclusion 24 Hours of Live Art Occupation 6pm-6pm 25th-26th February 2012

When asking a fellow student what their plans were for the weekend, he told of an art show he was volunteering at. As for any art student nowadays, involvement in the art scene of the city you are studying in is vital, so I asked him the usual questions. How did you come to be involved? Where is the event? And of course, is there any chance I can be involved? I emailed the artistic director Adam Young and through a simple conversation, it was almost by chance I become involved in the 24 Hour Art Event, (In)xclusion.

The event took place at ESA (East Street Arts) Patrick Studios, on St Marys Street Leeds, having visited ESA before I knew the venue primarily as artist studios. Meaning I was left with a feeling of wonder as to how an art event was going to take place in such a space. Having not really had to the time to do a great deal of research about show, I headed down to ESA at 5pm. They wanted the volunteers early in order to get the briefing for the work we were going to be doing; however I was almost blind to what exactly I would be walking into.

There was a sheer buzz about the place, artists darting about the building, I almost couldn’t believe the transformation from the quiet studios I had known ESA as before. Being briefed I began to realise the size of occasion and that actually this was an extremely important art show, not just for the artists involved but for Leeds as an artistic city. Becoming aware that (In)xculsion was 24 hour live art event.

The running theme throughout the show was social exclusion, and was not just Leeds based artists who were involved; a call out for artists from all over the country had been put out. The range of places these artists have come from to be involved with this event interested me before the experience had even started. Artists were travelling to Leeds to showcase their work in the Leeds art scene. After my recent visit to the Glamourie event at PSL discussing the Leeds/London divide, (In)xculsion seemed smash through any possibilities of there being a divide between Leeds and other cities. (In)xculsion successfully brought other artists from other cities into Leeds for artistic purposes.

The art performances themselves were a wide and variety mix, carefully co ordinate to synchronise with the appropriate time throughout the night. Walking around the building all the pieces seemed to have a somewhat solitary nature to them, fitting in with the running theme of social exclusion. It would be a difficult to task to try and describe each artist’s piece, as there was a constant flux and change of the work. Yet, it is fair to say that the switch in performance flowed and in my opinion was a huge success for the artists and the curators. A few acts which left a strong presence with me were 24 East Streets, a challenge to find 24 East Streets throughout the duration of the 24 hours. What made this piece was the sheer fun behind it; being linked up to a live web feed the audience was able to watch the two travellers on their quest to find the 24 East Streets.

Barbie: For your eyes only, was interesting as the viewers were asked to separate into male and females. The males being allowed to interact directly with ‘Barbie’ (the artist sat in Barbies ‘dream house’, a room which had been converted in to a play house) and the females then fed instructions to the men as to what to do with ‘Barbie’. Again this performance was a playful and fun experience. For me, the most enjoyable performances were the ones which were entertaining, the length of the show meant that when the audience had the chance to be amused, which was a welcome relaxation point throughout the night. Alongside the pleasure of the affair there were also pieces which touched on serious matters, such as The Darker the Berry, which questioned the topic of pigmentation and segregation in the media.

A challenging evening and I have to say well done if anyone did make it through the full 24 hours, because I had to nip home to get some sleep! Therefore I cannot fully understand the changing states which a human experiences when being aware for such a long period of time. Although as time passed through the evening, there was a definite change, you almost became warped into this strange sense of security and vulnerability. It felt such a brilliant event to be a part of, especially as it was in Leeds. If you haven’t heard of the event I would recommend reading the extensive written articles on the evening, including the production of a wonderful newspaper for the event. I hope that this will be start of series of brilliant events for Leeds in the art world.

Due to the nature of happening, there have already been plenty of reviews and exciting press about this event. However, having volunteered at the happening, I wanted to perhaps offer a more personal review.