Tag Archives: David Minton

This ‘Me’ of Mine is open in Sevenoaks

This post was written Friday, May 17th the day after our opening in Sevenoaks, but due to preparing for my imminent return home to France, its publication was delayed.

This 'Me' of Mine opening at Kaleidoscope Gallery

This ‘Me’ of Mine is open in Sevenoaks! We had an enthusiastic group and a lively discussion of ‘space’ for the ‘Artists in Conversation’ at Kaleidoscope Gallery. Melanie Titmuss and David Minton discussed how space functioned in their work, but more importantly how they perceived their own space and how their responses to that space manifested in their work. For example, Melanie felt the most significant relationship to space in her painting, Woman with Cardigan, was in the actual anonymous encounter she experienced with the woman in the painting; the experience of occupying space and proximity with this individual.

Installation 2_lo resSeveral questions regarding space and curating were raised by our guests, questioning my decisions for placement of the works in the gallery space. These questions were particularly welcome because it gave me a chance to discuss some of the reasons and influences behind my decisions. I was very pleased to explain why I had chosen to place Shireen Qureshi’s Untitled Nude flush against the edge of a blacked-out window in the gallery.

David Minton denied any attempt to convey meaning in his work but many friends and fellow artists at the opening expressed feelings of contemplative spirituality when looking at his Peripherial Vision. I agreed and confirmed my decision to hang David’s piece high in a position suggestive of spiritual meditation for those very reasons. You’ll get to see some of these discussions soon. Henrietta Thomas is videotaping the ‘Artists in Conversation’ discussions and producing 20 to 30 minute clips.

This 'Me' of Mine installation at Kaleidoscope GalleryFor me, the challenge of re-curating and re-configuring the exhibition for each venue space has been immensely rewarding. I’ve had an opportunity to delve deep into these works and into the project premise exploring and developing many of the significant themes underpinning the project. Each venue has presented particular opportunities:

APT allowed for the visualisation and physical manifestation of ‘context’ in the project premise – ‘self in relation to context’ through the space given to the works.

The space at Strange Cargo brought the works into personal proximity, meaning visitors were eye to eye with the pieces and experienced them within their own personal space.

Kaleidoscope has given me a chance to make groupings and tell stories; stories of memory, loss and longing | age and nostalgia | social strictures and the demands of a global reality | psychology, physicality and the pervasiveness of the influence of time.

What awaits? The Art School Gallery at Colchester Ipswich Museum with 10 galleries on two floors surrounding a hexagonal atrium. This ‘Me’ of Mine in all that space!

Coming September 21st, 2013 to January 5th, 2014.

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Sandra Crisp wins Print International Prize, David Minton exhibits in ko-ax drawing at Mascalls Gallery & Aly Helyer is selected by Paul Noble for Creekside Open 2013

Paul Nobel installing Creekside Open at APT GalleryIn fact, This ‘Me’ of Mine was installed at APT Gallery when Paul and Ceri were selecting for the CREEKSIDE OPEN. It was all very mysterious and sequestered and by all accounts a marathon effort to whittle down the entries to make their selections. But select they did; both shows are sure to be fantastic and well worth a visit to APT Gallery. Congratulations to Aly Helyer for being among the selected artists!

Selected by Paul Noble
A.P.T Gallery
2 – 26 May 2013
Gallery open  |  Thursday to Sunday from 12noon to 5pm  |  Free entry
Opening Reception and Prize Giving  |  Saturday 4 May 2013  3 to 6pm  |  Paul Noble will award three prizes of £500 each
Cos Ahmet  │  Andrea Artz  │  Helen Ashton  │  ATOI – Amy Thomas and Oliver Irvine  │  Marta Bakst  │  Aglaé Bassens  │  Dominic Beattie  │  Jessica Blackwood  │  Allan Boston  │  Shane Bradford  │  Denise Bryan  │  Lindsey Bull  │  Richard J Butler  │  John Butterworth  │  Laura Bygrave  │  Emmanuelle Camus  │  Jane Cattlin  │  Christopher Clack  │  Paul Cole  │  Stephen Cooper  │  Gemma Cossey  │  Emma Cousin  │  Daniel Crews-Chubb  │  Alex Crocker  │  Blue Curry  │  Nicholas Dedics  │  Aidan Doherty  │  Claire Dorsett  │  Richard Ducker  │  Andrew Ekins  │  James Epps  │  Luci Eyers  │  Hayley Field  │  Craig Fisher  │  Gordon Flemons  │  Grant Foster  │  Mariano Gana  │  Natsue Golden  │  Stewart Gough  │  Helen Grant  │  Luey Graves  │  Kate Groobey  │  Neil Haas  │  Julia Hamilton  │  Aly Helyer  │  Lesley Hilling  │  Nicky Hirst  │  Andrew Hladky  │  Luke Humphries  │  Bruce Ingram  │  Benjamin Jenner  │  Frank Jennings  │  Andrew Kerr  │  Caroline King  │  Amanda Knight  │  Alec Kronacker  │  Tamiko Kusuhara  │  Simon Leahy-Clark  │  Caterina Lewis  │  Lana Locke  │  David Lucas  │  Lorrain Mailer  │  E J Major  │  Enzo Marra  │  Maslen & Mehra  │  Jan May  │  Oliver McConnie  │  Andrew Miller  │  Stuart Moller  │  Ebrel Moore  │  Eleanor Moreton  │  Ange Mukeza  │  Amy Owen  │  Nicholas Owens  │  Matthew Pagett  │  Jitka Palmer  │  Kyu Eun Park  │  James Parkinson  │  David Pike  │  Ruth Piper  │  Justin Piperger  │  Tom Pitt  │  Emily Platzer  │  Nick Powell  │  Jasmine Pradissitto  │  Katherine Reekie  │  Reka Ritt  │  Dai Roberts  │  Tania Robertson  │  Carole Romaya  │  Sam Rountree Williams  │  Michal Rubin  │  Melanie Russell  │  Anna Salamon  │  Lizi Sanchez  │  Margot Sanders  │  Ed Saye  │  Andrew Seto  │  Fay Shin  │  Claire Smith  │  Sophia Starling  │  Christy Symington  │  Shubba Taparia  │  Mia Taylor  │  Ernesto Torres Alarcon  │  Rebecca Townrow  │  Stella Tripp  │  Vanesa van Vlerken  │  Pepe Vives  │  Robin von Einsiedel  │  David R Watson  │  Gethin Wavel  │  Ashley West  │  Paul Westcombe  │  Tisna Westerhof  │  Caleb Whitefield  │  Lucy Whitford  │  Sarah Kate Wilson  │  Damian Wojcik  │  Diana Wolzak  │  Robert Worley  │  Eric Wright  │  William Wright  │  Yi Xin Yan  │  Guimi You
Selected by Ceri Hand
A.P.T Gallery
6 – 30 June 2013
Gallery open  |  Thursday to Sunday from 12noon to 5pm  |  Free entry
Opening Reception and Prize Giving  |  Saturday 8 June 2013  3 to 6pm  |  Ceri Hand will award three prizes of £500 each
Eve Ackroyd │ Tony Antrobus │ Miriam Austin │ Juan Bolivar │ Allan Boston │ John Brennan │ Agnes Calf │ Melanie Carvalho │ Cordelia Cembrowicz │ George Charman │ Martyn Cross │ Mark Davey │ Rose Davey │ Anita Delaney │ Adam Dix │ Geoff Dunlop │ Dexter Dymoke │ Andrew Ekins │ Annabel Elgar │ Rita Evans │ Gordon Flemons │ Grant Foster │ Cadi Froehlich │ Sofie Grevelius │ Hannah Hewetson │ Vicky Hodgson │ Emilia Izquierdo │ Paul R Jones │ Robin Kirsten │ Maria Konstanse Bruun │ Alex Lawler │ Bethan Lloyd Worthington │ Alex March │ Enzo Marra │ Nigel Massey │ Georgina McNamara │ Clare Mitten │ Gorka Mohamed │ Doireann Ni Ghrioghair │ Alejandro Ospina │ Justin Piperger │ Alicja Rogalska │ Melanie Russell │ Rachel Russell │ Miho Sato │ Lisa Selby │ Elizabeth Shuck │ David Brian Smith │ Christine Stark │ Callum Sutch │ David Theobald │ Abbi Torrance │ Ashley West │ Jack West │ Hannah Wooll │ Isabel Yellin │ Fantich and Young
A.P.T Gallery
Harold Wharf
6 Creekside
London SE8 4SA
Art in Perpetuity Trust
Registered Charity No. 1045363

ko-ax drawing invitation

David Minton is selected for ko-ax drawing at Mascalls Gallery in Paddock Wood. With descriptions like, ‘A landscape cut into a discarded envelope; dress-making pins tracing the line of a child’s ball; a baby’s first waking gestures caught with a fleeting pencil line,’ it promises to be an interesting look at contemporary drawing in Kent.

5Ways Filmstrip 4 and The Bigger Picture in Print International 2013And Congratulations! to Sandra Crisp for winning the 2013 Print International Prize at Oriel Wrecsam Gallery, North Wales. Her three pieces, [Imprint] Soft_Terrain (inverted), 5Ways Filmstrip 4 and The Bigger Picture, which is of course part of This ‘Me’ of Mine, were chosen from amongst the 40 other international printmakers in the show. Well Done!

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David Riley’s Updated TUNC, Aly Helyer in ‘Soul Meat’, Sandra Crisp Wins Eaton Fund Grant, David Minton: Cradling of Loss

Twitter user names: coded and transcribed (c)2013 David Riley

Twitter user names: coded and transcribed, (c)2013 David Riley

David Riley has updated his Twitter piece for This ‘Me’ of Mine. The list of followers has grown so much since he first conceived of the piece, it required some rethinking for presentation. I’m delighted with the new results! David plans to update and grow this work with each venue installation of the tour. So if you haven’t yet followed @codedimages here is the link so you can add your twitter name to the list and become part of this artwork. See the virtual Twitter User Names – Coded

Sinnerman (c)2013 Aly Helyer

Sinnerman, (c)2013 Aly Helyer

Aly Helyer is exhibiting in ‘Soul Meat’ curated by Lee Maelzer, at Lion and Lamb Gallery until Feb 16.

“These painters take a dark look at the body and the mind – a conflict between the intellectual and the spiritual, with the corporeal and all it suggests resulting at times in comically grotesque hybrid mutations….”

“If it’s true there exists a realm, in the relations of soul and body, where cause and effect, determinism and expression still intersect in a web so dense that they actually form only one and the same movement which cannot be dissociated except after the fact…”

Michael Foucault from Madness and Civilization

See more of Aly latest work on her website.

Eaton Fund logoSandra Crisp has been awarded a grant from the Eaton Fund.

“The grant will be used to fund the printing and framing of a large format digital print ‘The Bigger Picture’ for forthcoming UK touring exhibition This ‘Me’ of Mine 2013. This kind assistance is extremely welcome at this point in my career as the costs involved in producing such large works for public exhibition have proved to be extremely challenging in recent times.”

Sandra Crisp

Read Sandra’s ‘Thank You’ to the Eaton Fund.

Pigeon and Line, (c)2011 David Minton

Pigeon and Line, (c)2011 David Minton

David Minton is preparing for a solo exhibition at Trinity Town and Country Foundation Gallery in Tunbridge Wells.

See Cradling of Loss 26 Feb to 9 Mar.

“In David Minton’s drawings and paintings flowers die, birds fall to earth, the work arrives; the making of the images is a cradling of loss. These works are small instances of tension created from the impossibility of description, the incompleteness of experience, the wish for resolution. In the making, the physicality of paint, the elegance of line, offer tactile comfort.”

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Catching up with Summertime

Summertime is the time for fun in the sun – right?  It’s also the time for some great art activity and the artists of This ‘Me’ of Mine have been very active.  They’ve also been busy composing their thoughts in several new blogs, see the list below.  Here are the highlights of some of their recent and upcoming activity:

Annabel Dover:

'Marshall & Snellgrove' (c)2011 Annabel Dover

Marshall & Snellgrove, (c)2011 Annabel Dover, cyanotype on paper

Golden Thread Gallery

Royal Academy Summer Show
Curated and selected by Tess Jaray

Fringe Arts Bath

Santorini Biennale
Santorini, Greece

Kate Murdoch:

'10x10' (c)2008-2012 Kate Murdoch

10 x 10, (c)2008-2012 Kate Murdoch

Coastal Currents Arts Festival
Stade Hall, Old Town, Hastings

Exhibition of 10×10:
19 – 21 September 2012, 4 to 7pm

Artist Talk:
19 September 2012, 7pm

Object Swap:
22 September 2012, 5 to 8pm

David Riley:

sonnet 84, colouring shakespeare (c)2012 David Riley

sonnet 84, colouring shakespeare, (c)2012 David Riley

HEADLINE: 99 days of colour coding the news
Online Exhibition at: http://virtual.codedimages.com/headline/

SONNET: colouring Shakespeare
Online Exhibition at: http://virtual.codedimages.com/colouring-shakespeare/

Anthony Boswell:

Marker (c)2012 Anthony Boswell

Marker, (c)2012 Anthony Boswell

Reading Room
Little Berlin, Philadelphia, USA
Curated by Becky Huff Hunter

Reside Residency
The Reside Residency is inspired in equal parts by the notions contained within Xavier de Maistre’s ‘Voyage around my Room’ and the founders inability to find a suitable residency for an individual with familial and professional responsibilities.

Hayley Harrison:

Portrait (c)2012 Hayley Harrison

Portrait (c)2012 Hayley Harrison

Hayley has been painting portraits at several art fairs this summer.  Here is a list of some of the fairs she’s attended:

 Faircharm Summer Fair

Dandy Lion Market

Mayton Street Festival part of Holloway Arts Festival 2012

Dalston Eastern Curve Garden part of Dalston Flower Show – Chelsea Fringe

New Blogs:

David Minton: It’s a Hiding to Nothing
Kate Murdoch: Keeping it Going
Sandra Crisp: Work in Progress
Anthony Boswell: ‘Et in Arcadia Ego’ – Beyond Painting

The project is also starting to get some press attention. Anthony’s interview was mentioned in The Arts and Crafts Gazette in June. In July Perrick Senelaer editor of Art Pie invited me to be a contributor and write about This ‘Me’ of Mine. It gives me a unique opportunity to write about the project from a different perspective and I hope will offer further insights into issues surrounding This ‘Me’ of Mine. I have an article coming up for Art Pie on my interview with Shireen Qureshi.  Our interview will be posted here in the next few days,  so watch for that. And last week, @an_artnews mentioned me in a tweet with some other very exciting groups and individuals making a mark on the UK arts scene, I was very honoured. As a result the project has gained some new followers.

So if you are enjoying the developing content, help us spread the word. You can follow the project by clicking on the ‘follow this blog via email‘ button or the ‘follow@thismeofmine‘ button just below the list of tweets. Leave us a comment too, we’d love to chat with you. If you would like to support the project have a look at our BOOKSHOP for books which have inspired the artists of This ‘Me’ of Mine, commissions from book sales go to fund the project.

Thanks very much to everyone who is watching!

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David Minton exhibits in Sevenoaks Visual Arts Forum

David Minton has three works in the Sevenoaks Visual Arts Forum at Kaleidoscope Gallery, see details below.  He also has a recently published review on a-n Interface of Plastic Propaganda at the Grange Tower Hill Hotel.

And if you’re browsing through This ‘Me’ of Mine, be sure to see the recent comments on the Artworks page, they’re well worth a read!  We would love to talk to you.  Leave us a comment and be sure to check ‘Notify me of follow-up comments by email’  below the area where you write your comment so you can see the responses.  Follow this blog to keep up with developments and more great artist interviews to come.  We appreciate all our followers!  Thank you!

Sevenoaks Visual Arts Forum Exhibition 22 Mar – 12 May

20th March 2012
Mixed show at the Kaleidoscope Gallery Sevenoaks
Pigeon and Line (detail) (c)2011 David Minton
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David Minton reviews Beta Version 2.0 at Kaleidoscope Gallery and Kate Murdoch is interviewed by Artist Talking editor, Andrew Bryant

To Heal by Ruth Geldard

To Heal, Ruth Geldard, wax, found tree section

Beta Version 2.0

Kaleidoscope Gallery, Sevenoaks
19 January – 10 March 2012

In addition to blogging, David Minton has reviewed a number of exhibitions at the Kaleidoscope Gallery, Sevenoaks Library.

His latest review of ‘Beta 2.0’ is among those chosen by a-n guest selector Alessandro Vincentelli, Curator of Exhibitions & Research at BALTIC in Gateshead, to be featured in the March edition of a-n Magazine, Reviews section.

Ruth Geldard’s three pieces begin with verbs – ‘To smother’  ‘To Heal’ ‘To Secrete’. My male gaze lacks confidence here. To Smother? Smothering? (S)mothering? My mother?  Smother the mother? Smothering is a gentle art, but oh so insistent. Brings back memories. From a distance, ‘To Smother’ is an over sized confection on the wall. Get closer and it has the appearance of a section of tree-trunk overwhelmed by sweet pinkness; its enamel surface a contradiction. Invited by the artist to touch the work, my visual enamel is shattered by the shocking sensation of clammy skin. First reactions are of eye and hand reading different stories, but second thoughts suggest that the differences live through their associations. The eye touches more easily than the hand? My male gaze backs off a little…

Read the full review here.

Read David’s blog Dead and Dying Flowers on a-n Artists Talking.

Kate Murdoch is interviewed by Andrew Bryant

Hame by Kate Murdoch

Hame (c)2009 Kate Mudoch, courtesy the artist

And speaking of Artists Talking, editor Andrew Bryant’s latest blogger interview is with our Kate Murdoch.  They discuss art as a second career and the challenges and benefits of not going to art school.

AB: You are one of the few artists I know who hasn’t been through the art education system. Do you think that puts you at an advantage or a disadvantage?

KM: I think the short answer to that is a bit of both. My feelings fluctuate and I waver between thinking that an art education might be really worthwhile to wondering if I would personally gain all that much from it.

I’d say one of the main advantages for me of not having had a formal art education is that I’ve had the freedom to work organically and develop my practice at my own pace. I like to think that my art isn’t formulaic. I haven’t been taught how to make it; I work intuitively, so it comes from the heart.  I’ve heard some people speak about having the creativity knocked out of them through attending an art institution. I can’t say whether this would have happened to me had I gone, but I do know that as things stand, my creative flow has remained largely uninterrupted.

Read Blogger Interview: Kate Murdoch.

Read Kate’s latest post on her blog Keeping it Together, one she says will be her last.

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The Temporary Suspension of Tension

In a series of interviews with the artists in This ‘Me’ of Mine, we’ll explore their practice more in depth and find out what inspires them to create the work they do.  We’ll discuss issues of the self, how the artists deal with it within the context of their work and how they see themselves in relation to their work.  Objects play an important part in many of their practices; we’ll also look at this relationship and the issues of fascination, projection and meaning which surround our connection with objects.

The issues surrounding this exhibition and the work of these artists attempt to explore notions of a psychological self within an artistic context; these notions are issues of identity and experience, the very subjects which make up most of modern and contemporary art production in the twentieth and twenty first centuries.  Modern psychology makes a distinction between the ‘self as I’, the subjective self and the ‘self as me’ or the objective self; in simple terms, ‘I that knows’ and ‘me who is known’.[1]  This distinction is at the very heart of This ‘Me’ of Mine.

The following are excerpts from the first in this series of interviews.

Fallen Pigeon (c)2010 David Minton

Fallen Pigeon (c)2010 David Minton, oil on cotton duck, 55.9 x 55.9 cm, courtesy the artist

David Minton describes himself as, “…one of many who return to their roots after teaching….. What if…..I studied at Chelsea in the late 1960s?”  David maintains that sense of urgency required of someone attempting to make up for ‘lost’ time.  He works full-time in his practice and since October 2008, has written the blog Dead and Dying Flowers on an Artists Talking.  In October 2010, it was chosen as ‘Choice Blog’ by Tamarin Norwood.

Jane Boyer:  You describe Peripheral Vision as, ‘Two birds, Two lines, Space, Colour’.  What significance do each of these have for you in creating your paintings?

David Minton:  The birds and the lines might just be a romantic notion tied up in nice colours. I find myself retrospectively putting together a kind of narrative around the work, based upon conversations online and in person. The idea of ‘two birds, two lines, colour, space’ was an attempt to avoid commitment to meaning; commitment to meaning makes you vulnerable. But it may be that without meaning there is only space, so in a sense I make my paintings by accident, but knowingly so.  The central space created by painting ‘at the periphery’ has a tension that is constantly pregnant with possibility.  In order to remain so, the tensions of space are never resolved, but continue and it is this continued lack of resolution that forms the overall content of the picture.

The lines, complementary colours situated adjacent to opposite sides of the canvas, are complementary in an antagonistic manner.  There is a kind of standoff. The bird at the top of that picture is perpetually echoed by the ‘shadow’ at the bottom. The two are ‘me and not-me‘, ‘being and not-being’, a resonance. Working on from that, so are the lines and the space. I have a feeling of something that is almost not-there and this may be connected to a need to repeat experiences in order that they might occur in a new way; the pregnant notion.

Birds in Progress (c) 2011 David Minton

Birds in Progress (c)2011 David Minton, oi on cotton duck, 76.2 x 61 cm, courtesy the artist

JB:  The striking thing about your painting is what is and is not there.  In Difference and Repetition, Deleuze says, ‘…real opposition is not a maximum of difference but a minimum of repetition – a repetition reduced to two, echoing and returning on itself; a repetition which has found the means to define itself.’[2]  Do you feel the unresolved element of your work functions as a repetition of your own intentions?  Does the unresolved quality oppose your intention?

DM:  I came to the notion that the arrival of a painting is an awakening. This notion of awakening connects to a thought about the preconscious, in that the business of division – the literal dividing, complementariness, image and shadow, being and not being, stands for or at the conjunction of conscious and preconscious. Incidentally, (or centrally even) I am given to wondering if we all live at this conjunction; this is where our-selves are located in between unconscious motivations and actions in the world. It is at this ‘conjunction’ that consciousness dawns, between unknowing and the real. In so far as what I do is a search, my intention, if I have one, is to step out from the preconscious. But this involves necessary returning; I have to step back each time from a slightly altered understanding. So definition occurs as a dynamic thing striving to maintain balance in instability.  The unresolved is central to what comes next.


This series will also offer reading suggestions by the artists.  These are books they have read and found informative for their practice.  If you click on a link below, it will take you to The Book Depository where you can find out more about the book and make a purchase.  Your purchase will help raise funds for the exhibition.

David’s Reading List:

Art and the Degradation of Awareness – Jeff  Nuttall

The Transparency of Evil – Jean Baudrillard

The Cultural Turn – Frederic Jameson

Art in Theory: 1900 – 2000 – ed. Charles Harrison & Paul Wood

Jane’s Mentions:

[1] From the opening paragraph of the Wikipedia entry for Psychology of Self, found at: http://en.wikipedia.org/wiki/Psychology_of_self.  This is referenced: James,W. (1891). The Principles of Psychology, Vol.1. Cambridge, MA: Harvard University Press. (Original work published 1890)

[2] Deleuze, Giles. Difference and Repetition. Translated by Paul Patton. London, England: Continuum International Publishing, 2004. P. 15.

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From Idea to Intention: This ‘Me’ of Mine

Peripheral Vision (c)2010 David Minton

Peripheral Vision (c)2010 David Minton, oil on canvas, 152.4 x 121.9 cm, courtesy the artist

It takes a great deal of fortitude in the initial moments of moving from idea to intention.  It’s akin to jumping off the cliff in full swan extension.  Well, that’s how I felt at least when I made the decision to turn my idea into intention.  It started with this painting.  I had approached Aly Helyer about possibly showing her ink on paper works months earlier, but it was Peripheral Vision which made me certain I wanted to bring this show together.

David’s painting expresses so much of the philosophy behind the premise of this exhibition in an elegant understatement.  The bird, inextricably bound to its shadow, suspended forever in a fall and bound on both sides by delicate lines almost imperceptible but constraining nonetheless.  It is an expression of a weightless existence outlined by boundaries.

This is the very essence of my enquiry as curator; are we forever bound by our context or can we effect change in a context which defines and shapes us?

The artists in this exhibition are exploring this notion in their own ways within their practices.  Some interact with digital media and question the effects it has on our identity and physical being, some look at the effects of aging seeing strength in vulnerability, some regard objects and uniform as profound signifiers of personal meaning and identity, questioning the relationship we have with objects.  Presence and transience is also evident in many of the works.  It is a presence which is likely to be global now in scope thanks to social media, but which is so fleeting all we can hope for is a moment to exclaim our existence; our fifteen minutes of fame has turned into seconds.

I’ll talk about these works, the artists and the exhibition over the coming weeks in this blog.  Do let us know if you have any comments about what you see and read in these posts, we would be happy to hear from you.  If you would like to follow this blog and the development of This ‘Me’ of Mine, scroll down to the bottom of the page and give us your email address to receive updates or click the link to follow us on Twitter.

If you would be interested in hosting this exhibit or supporting its realization in other ways, you can contact me at thismeofmine[at]gmail.com.

Jane Boyer

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