NEWS!

Poplar Avenue to appear in Dharma School Chairity Fair Secret Auction! 

Sat 25th 11am - 3.30pm

The Dharma School is holding its summer fair today at its humble premises in Brighton. As part of its efforts to raise money for itself and charity, I and a few students from the graduating class of Goldsmiths have donated art works for a secret auction alongside prizes from Leonard Cohen and Nigel Cole.

NEWS!

Goldsmiths 2011 BA Art Practice Degree Show opens tonight!!!!!!

Details of times and locations are here:
http://www.gold.ac.uk/art/calendar/?id=4529

The online catalogue is here:
http://old.gold.ac.uk/art/exhibitions/baap2011/

I hope to see you all there X

Ch-ch-ch-ch-changes..

Righto folks,

The work is up on the walls. I have to say that 5 mins past the deadline I was quite unhappy with my paintings and was prepared to be perfectly miserable about it. But 3 black russians later I remembered to take the stick out of my arse and I decided I actually was most pleased with them - and that's what I have stuck with.

So, tomorrow night (Thursday 23rd June) we will open our degree show (which kicks proper ass) to the unsuspecting public.

I am overhauling aspects of this blog in anticiapation of interested parties coming to see exactly what makes me tick so you will see a new nav bar at the top of the page which may or may not be live by the time you read this. It will link to my gallery where you can see past, present and future projects and links to a news page to catch the latest on my work. The blog side will remain active to record my innermost gibbering. I will also be including an all-about-me page should anyone be interested in ME!

Over the next few days I will be attemtping a video review of the degree show, this is to allow the layman acces to art which may otherwise be a little obscure. My hope is to navigate the complex language present in many of the works in the show and translate it for a public who don't speak arty-farty. Watch this space!

The Road to Degree Show - 7

The Final Countdown

By this time a week from now it will all be over. All work will have been submitted and the gallery will be closed. Silence (not the Dr Who kind) will fill the once hectic studios only to be broken by the visits of the examiners who will inspect our work and pass judgement on its quality.

Three weeks from today and the gallery will open once more for the private view.

So, everything now depends on what I do in the next 7 days.

I have my work cut out for me. A great deal has already been achieved. The walls and floors are mostly finished. There are a couple of touch ups here and there but a morning - probably Wednesday morning - will sort those out. I currently have six paintings hanging on those walls each one in varying states of readiness. Only one of them is what I would consider to be finished.

The good news is that another of them is my 3 x 2.2m painting - yes indeed - with olympian effort we managed to get the thing up to the 5th floor. It had reached the point where I had become quite anxious about whether it was going to be included in my show or not. Having liased extensively with the studio manager we had agreed to attempt its ascension on the day with the least wind - which according to the meterologist report was yesterday (Tuesday). I spoke to him on that morning and he confirmed that the conditions were good so we set the time for 12.30.

I was to assemble a carrying team, and make sure I had some strong rope attached to the painting to help overcome any obstacle in its transportation. The studio manager would meet us in the foyer, turn the fire escape alarm off and we would then begin the journey up 5 flights of the external fire escape.

I must have been giddy with excitement as I misinterpreted several of these arrangements. I assembled a team all well and good - a very competent team no less to whom I am extremely grateful - and told them to meet me in the foyer at 12.30. Then I went on the hunt for the rope. Rope is one of those common items that everyone in the world knows about and assumes everyone else has, but no one actually does. After chasing down a number of leads I was eventually directed to the Goldsmiths store - a seemingly mythical place shrouded in mystery hidden behind some buildings which, I believe, have been designed to be so unremarkable as to allow you to walk past them everyday without ever noticing they were there. I love coming across new places I never new existed and Goldsmiths (whose internal architecture was clearly designed by Escher-on-crack) is full of such places.

The Goldsmiths store is not a store as such, more a place where things which have no place end up in. The keeper of the store was a man on the verge of being a fantasy caricature - small, distinctive facial features and a nervous, fidgety energy coupled with a slight 'oh-god-another-student' grumpiness. However he was very helpful and handed me some good rope, despite his misgivings over what I intended to do with it.

A point should be made here that this was one of my misinterpretations for I had told the keeper of the store that I was going to tie the rope to the painting and then to myself to anchor it against any gust of wind that may carry it off the roof.

Yeah - I know, I'm an idiot.

Anyway - minutes later I have rope round my waist and the canvas, and the excess slack is being used as a skipping rope for my transport team. My second misinterpretation came into play and instead of waiting for the studio manager I promptly ordered my able bodies to begin the lift. We made short work of it and soon had the painting halfway up the building. I cast a glance at the growing spectator crowd below and noticed the studio manager looking up at us with incredulity.

Around that point I had the realisation that the more bonkers the situation the more it felt like art.

Finally we made it to the 5th floor fire escape entrance and the door opened as if it were the gate to heaven. The painting was brought inside, I was berrated (with amusement) for my errors, and that was that. At the end of the day I am not sure who was more relieved - me for finally having the painting in my space or the studio manager for not having a number of students blown to their deaths.

And so gentle reader this morning I find myself with a mere 7 days ahead, all set to put the finishing touches on my paintings and walls, and then abandon my work to the mercies of the examiners and the public. This final week will be a busy one but the end is in sight.

The Road to Degree Show - 6

Plastered

My painting still sits in the foyer of the Ben Pimlott building, so close to its home and yet so far. I have spoken with the studio manager and he has said no to the idea of winching the painting up the side of the building.

I think that's a real shame - the publicity alone would have been worth the bother ;)

However we have decided to carry the painting up the external fire-escape stairs, we now have to wait for a windless day so it doesn't carry the porters off the top of a very high building. If you live in london and look up one day this week to find a bunch of art students handgliding overhead with a 3m canvas you will know that I gave up waiting.

In the meantime I have turned my energies to the task of prepping the exhibition space. Progress has been extremely encouraging.

A combined effort form the entire 5th Floor made light work of the initial clear out of the studios. Like a well oiled machine we took the spaces that had been so mercilessly abused by students over the last year and stripped them ready for transformation. Amongst the items removed during the clear out was a computer, a kid's scooter and fridge.

Studios cleared, it was time for the art crew to move in and begin dismantling the walls. Having done this last year let me tell you it is a fun graft - the walls are not treated with much respect and there is plenty of loud crashes, bangs and destruction.

Once that is done the build begins and this year the crew have really stuck in and done a good job. I already have all the walls erected in my space - in fact there is only one wall remaining on our floor to complete. After that it is entirely down to the students and their helpers to get the space looking gallery-ready!

And we have been stuck in all day today.

First we have to repair the walls of our space as they have been built using the same walls that the studios were built with - yes, the same walls that have first been abused by students and then razed to the ground by the crew. Repairing them involves filling the holes with a filler and then sanding them to smooth until you have a nice flat wall ready for a lick of paint. The consequences of these activities is a haze of plaster dust which manages to cover everything, hair, clothes, paintings, ceilings - even your underwear.

As I write this I do so from beneath a coating of the stuff. I must say that I love the effect it has on hair - thickening it and making it very stylable. In my experience there has yet to be a hair product that can match plaster dust for stylability and hold.

Anyway the plastering is mostly done and I came to a stop this evening just in time to see the sun set majestically over London (shown above). Tomorrow I have teaching in the morning but come the afternoon I shall be back in the plaster cloud. Maybe if we get another fantastic sunset tomorrow I shall throw caution (and my painting) to the wind and you will catch the sight of me freewheeling high in the sky, bound for the sun.

The Road to Degree Show - 5

The Not-so-final Trial

Arse.

Over the last few days the art department has turned into a machine of procedure. Deadlines have been triggering event after event:

get all final materials needed
solve any problems within your exhibition space
pack down the studios
empty the studios
move your work from your studio to your exhibition space

I was operating to schedule. Sure - the paintings are not finished yet and there is a fair bit of work to be done on them and sure - that means I will have to work doubly fast on the build so I can get them up in their places and finish them. That's fine. Its close but its fine. And everything else has been going as planned.

Well, almost everything else.

I spent a busy week in a combination of frantic but impassioned painting and diamond clear organising as I took away the excess from my studio bit by bit. As a result, today - our final day in our studios - could be spent putting some finishing touches to the areas of the paintings I was working on and then cleaning my painting materials ready for use in the last phase of the plan. I had timed it so well. I was packed down and ready to go ahead of schedule and all that was left was to move my paintings from my studio, across the campus, to the exhibition space.

I had contacted my two helpers who arrived promptly (they were both great and I am optimistic about the three of us making short work of the labour ahead) and with good efficiency we wrapped up the paintings in bin liners and prepared to get them in transit.

Now I knew this was going to be difficult because my biggest painting is 3m x 2.2m and you rarely find a door large enough to accommodate that size. However, I had thought ahead and planned a route through the largest portals available and sure enough we quickly had the paintings on the trolley and on their way to the exhibition room.

The transit went without too many hitches, all obstacles being easily overcome, and we finally made it to the Ben Pimlott building where we would catch the elevator up to the 5th floor - my exhibition space.

I knew we had too many paintings to get into the lift in one go so up went my helpers with the all but the biggest painting and I waited down in the foyer for the final leg of the journey.

The lift returned with my helpers and we prepared to move the big painting in. Now, you know this is the last step and so far nothing has gone wrong so you can probably guess what is to come.

Yes dear reader, we could not get the damn painting into the lift.

We must have tried more angles than pythagarous, twisitng it, leaning it, diagonalising it - but the laws of geometry were against us and finally we had to conceed defeat. The problem is is that the lift is the only real option we have of getting the painting up there. We can't take it through the staircase because even though the staircase is more than big enough to accommodate my dear painting the doorway to the staircase is smaller than the doorway o the lift.

I have retired to my room to sleep on the problem and I can do magic so I believe I will find a way of getting that painting up 5 flights of stairs even if it means stepping out onto the balcony of the building and hauling it up with a rope.

This is my art 'heart of darkness' but I'll be damned if I succumb to Kurtz. Even if I have to bend space and time (or more likely bend my painting) that thing is going up there!!! Stay tuned...

The Road to Degree Show - 4

The Shamanic Principle

"Only psychos and shamans create their own reality"
— Terence McKenna

In my dissertation I spent several thousand words discussing how the shamanic traditions in the Putamayo took fact and fiction and constructed its own reality from it. I wrote that dissertation because that was the area I was exploring in my paintings.

Specifically: I was looking at how a landscape could be painted in such a way that it confounded the viewer's ability to locate it in reality and therefore encouraged the viewer to adopt and accept a new reality. The painting could not be too realistic, nor could it be too abstract but it had to occupy that liminal space between fluid and solid. Furthermore my exploration of this lay in the use of paint - brush mark vs. smooth, colour vs. black and white, accident vs. control, surface (of the painting) vs. content of the image etc. Namely I tried to take the tensions available in the medium of paint and use them accordingly.

I believe the shamanic space I have sought to create finds its closest pop-culture comparison in the ideas of Terrence McKenna and his description of a psychedelic world. If you are not familiar with McKenna's work then I suggest you familiarise yourself with it because it is one of the fundamental building blocks of our contemporary world whether people realise it or not.

As my pieces for the degree show have been developing I decided this weekend to push the boat out and conduct a shamanic ritual before setting to work on the paintings. The aim was to throw my mind pretty far into a psychedelic perspective, furthermore I wanted to unhinge it from the systems of control and safety that I have subconsciously constructed over the span of my life.

If this is all getting a little new-agey for you hang in there. Open your mind ;). If you are finding it a bit pretentious - give me a break! I am supposed to be a boho art student.

I settled on the shortest route to achieving this state (I am sure most of you can predict where this is going) and decided to smoke some drugs. I used a herbal high blend (legally purchased over the counter) which I obtained in one of Brighton's many fine establishments. I smoked it from Ozymandis which is my crystal skull pipe (pictured above - generously gifted to me from Steve) and subsequently settled back to enjoy a subtle shift of my perspective.

In my experience the herbal highs one may purchase can be strong but tend to be very mellow. I am not sure whether this particular blend differs or whether my intention to remove some pretty deep-rooted blocks in my consciousness affected my experience, but the stuff knocked my entire mind sideways. No chilled out reflections on life for me, no, instead I get Dr Who style lacuna spots followed by rapid mind progressions and disembodiments.

I have always stated that one of my common experiences in my short and brief history of drug use has been that my perception of time changes to only include the present, the past and future becoming unavailable to me. This makes speaking in sentences very difficult as I can remember neither what I have just said nor what I was intending to say and this time was no different except in so much as it was intensified. I therefore humbly apologise to any one I spoke to that night as I imagine I talked a load of utter gibberish. In fact I distinctly remember deciding with the sober part of my brain (who remains present during these experiences but takes a kind of back seat-Woody Allen style commentary role) to talk as little as possible as I could not gaurantee any quality control over the words that came out of my mouth.

Anyway, I could go on for ever (as many have before me) about the details of my experience but I imagine for my readers that it would induce disgust for those with no experience of drug taking and boredom for those well versed in it. So suffice to say it had the desired effect and I consequently engaged in a very productive couple of days painting.

As an end note to this particular chapter I would say that I do not believe drugs to be necessary to an experience of the psychedelic and having done the ritual I do not intend to use them again in the production of my paintings for the degree show. They have served their purpose and I can return to my everyday perceptions (which are psychedelic enough as it is) having recieved a few system upgrades. At the end of the day my greatest hope is not that my paintings convey a drug taking experience but that they operate independently of that fact and bring to the viewer their own reality. Looking at my paintings as they currently stand the prognosis seems favorable - fingers crossed.