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Quick and Dirty
The 'Quick and Dirty' exhibition was an early inward facing pop-up show at WCA, initiated and curated by Helen Dear and Constanza Marques Guedes. For someone like myself who had very limited experience actually participating in group contemporary art shows prior to the MFA, it was an incredibly helpful experience in how it demonstrated the potential for dialogues between diverse work in a space. Not only does the work change the space, and the space change the work, but the dynamics created between the work has a lot to be said for the success of any curation.
I ended up helping out with the installation of the show, which was the beginning of what has since been an interesting learning curve in the installing of various kinds of work in various environments.
Outside of paying more attention to curation, and beginning to take an interest in installation, 'Quick and Dirty' shone a light on the importance of collaboration, compromise, and the management of personalities for group shows. As emerging artists exhibition space - even within our own university - can be at a premium, and I believe that being able to negotiate the given space in creative and collaborative ways goes a long way.
Quick and Dirty
The 'Quick and Dirty' exhibition was an early inward facing pop-up show at WCA, initiated and curated by Helen Dear and Constanza Marques Guedes. For someone like myself who had very limited experience actually participating in group contemporary art shows prior to the MFA, it was an incredibly helpful experience in how it demonstrated the potential for dialogues between diverse work in a space. Not only does the work change the space, and the space change the work, but the dynamics created between the work has a lot to be said for the success of any curation.
I ended up helping out with the installation of the show, which was the beginning of what has since been an interesting learning curve in the installing of various kinds of work in various environments.
Outside of paying more attention to curation, and beginning to take an interest in installation, 'Quick and Dirty' shone a light on the importance of collaboration, compromise, and the management of personalities for group shows. As emerging artists exhibition space - even within our own university - can be at a premium, and I believe that being able to negotiate the given space in creative and collaborative ways goes a long way.
Arc
Arc
Arc
Coming into the MFA program I found myself very conflicted, and frankly frustrated, as to the direction I was taking with my work. My practice felt divided between a deep-seated - though largely unexplored - attachment to the process itself of drawing, and the socio-politically active side of my life that had yet to find much expression in my work.
In an attempt to resolve this divide I worked on a Hypermasculinity Series. In these works the aim was to communicate the point at which some men reach what seems like an apex in performed, clichéd masculinity that ends up becoming either 'toxic' or violently self-destructive. The glitch effect used in many of these drawings was included with the metaphor of 'heat death' in mind, whereby something evolves to a state of no thermodynamic free energy and can no longer sustain processes that increase entropy. While these works at the very least helped me to begin to re-think my practice, the results felt very limited in a consideration of the process of their making and in the feeling that the attachment to illustration was preceding the concept.
Following on from the first attempts, I began to reflect more on the process and labor of these concentrated drawing studies. Through tutorials I was given a vocabulary to verbalize and therefore focus on the notion of value in relation to labor of different kinds, and the value of the chosen subjects themselves. In many cases I gravitated towards conventionally 'low value' subjects, and treated them with an attention to detail and concentration normally reserved for more 'high value' subjects. Further, this was generally done with exclusively carbon-based, 'primitive' mediums.
Coupled with a growing fascination with Hito Steyerl's The Wretched of the Screen (more information to this point can be found in the 'Context' section), the next two works tried to logically follow on from the previous conversation about masculinity while also bringing the notion of value to the forefront. One, a charcoal rendering of an image of young Mike Tyson screenshot from a poor quality YouTube video, tried to incorporate a reading of Hito Steyerl's thoughts on the hierarchy of image quality in the digital world. The piece was done at a much larger scale (60 x 48 in) which satisfied a personal need for physicality in the process of drawing - a need which has since found some clarity in researching Matthew Barney's Drawing Restraint series. Simultaneously I was building a few rudimentary tattoo machines, using only elements that might be available to incarcerated prisoners, as an object-driven expression of economies of value. Further, these two pieces were an important step in opening myself up to an ethos of the 'concept driving the medium' as opposed to the reverse, something I have been guilty of for much of my artistic career.
Postopia Artist Perspectives - prod. Mitch Smith
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Postopia Poster
Postopia private view
Postopia
Postopia Poster
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Postopia private view photo credit: Nick Manser
Postopia
"The group will aim to present visions of technology through the lens of utopia and dystopia. But we will also try to imagine a third option: a state beyond extreme dichotomy towards a search for balance between humanity and technology with realistic expectations and a sustainable approach."
This is an excerpt from the brief initially calling for applications to partake in Postopia, an exhibition managed by a group of second year MFA students: Cherish Marshall, Stanley Black, Philippa Kate Weaver, Mitchell Smith, and Sean Winn being at its heart. The exhibition ran for three days, across three floors, and hosted almost 550 visitors in a beautiful space in Bermondsey. From the outside looking in, the entire exhibition process was run professionally and ultimately was an experience that I am vastly grateful for - not only for the chance to showcase my work alongside such a diversity of artists, but also for the experience of seeing first-hand a successful exhibit unfold.
As mentioned in my Arc I showed my most recent finished work, 'Heavy smoke billows from a section of Gaza City in the Gaza Strip’, which - despite being a logical development in the trajectory of my practice - I believe was well suited as a response to the exhibition's brief. While I had originally planned to hang the work on a wall, the curators asked whether it would be possible to instead suspend the piece from a beam to act in part as a "wall" to divide what was a very large room. The welded frame and suspension mechanism that resulted from this conversation greatly expanded my thinking about how to display my works on paper going forward, and how the work can further interact with space.
All in all the exhibition was very well organized and executed, which was down to an incredible work ethic from its organizers and curators. This includes everything from the tight focus of the application brief and the communication skills of the project coordinator, to the time management of the installation process and dynamism of the curation. I am intent on remembering and echoing the balance of professionalism, conviction, flexibility, and industriousness that all those involved in Uncovered Collective's Postopia showed throughout.
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