Tag Archives: Sandra Crisp

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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Molly Behagg is inspired to share work, Sandra Crisp is selected for PRINT INTERNATIONAL 2013 and short-listed for ISEA 2013 in Sydney, Aly Helyer exhibits in ‘A House of Many Windows’

(c) Molly Behagg

(c) Molly Behagg

Through a Twitter call for artists to share work inspired by This ‘Me’ of Mine, Molly Behagg has shared two series, Vertigo and Thaw. Molly’s “work is concerned with notions of the self as transitory and unfixed. [She is] interested in the relationship between reflective surfaces and the presence of the viewer in a space. Partial images fascinate me, often occurring naturally created by light, water, mirrors and glass, they allow glancing moments of clarity before disappearing.” Molly also has an article on identity and place in the current issue of Engage 31 magazine called: Museums of the Self . Find out more about Molly’s interests and vision on the INSPIRATION page. If you have been inspired by This ‘Me’ of Mine, contact me. I would love to share your work or text too.

The Bigger Picture (c)2009 Sandra Crisp

The Bigger Picture, (c)2009 Sandra Crisp

Sandra Crisp is on such a roll she’s making thunder! Sandra has just had three works selected for the seventh biennial PRINT INTERNATIONAL 2013 at Oriel Wrecsam Gallery, Yale College in Wales. Professor David Ferry RE FRSA has selected ‘The Bigger Picture’, featured here on This ‘Me’ of Mine, 5Ways Filmstrip4′, and ‘Imprint, Soft Terrain (inverted)’, which can be seen in our interview, Memory Surfaces. EXHIBITION:13 April – 8 June 2013
Opening Event: 2 – 4pm Saturday 13 April 2013 

Sandra has also been short-listed for the 19th International Symposium on Electronic Art for her film ‘Mapping London’s Subterranean Rivers’ to take place in Sydney Australia. Presented by the Australian Network for Art and Technology (ANAT) and held alongside Vivid Sydney – a festival of light, music and ideas – ISEA2013 will showcase the best media artworks from around the world and provide a platform for the lively exchange of future-focused ideas.

An X Lover, (c)2011 Aly Helyer

An X Lover, (c)2011 Aly Helyer

Aly Helyer has work coming up in A House of Many Windows, curated by the super Day & Gluckman curating team.

The portrait, the mask, the ownership of identity and the burden of historical portraiture can all be mined from the depiction of a person…Often the figure is eradicated in contemporary art practice. Landscapes are barren, sculptures reject the hint of human intervention with pristine finishes, white cube galleries are a clinical platform. Immediately an emotive layer is added through the depiction of a person. Identity infects and affects works of art, how we read them and how they are produced. In this exhibition nine artists who work with the body as subject through paint, sculpture, collage and photography present a myriad of responses to our relationship with ourselves.

A House of Many Windows will be at Collyer Bristol Gallery in London, March 6 to June 12, 2013, opening March 6, 6 to 9pm.

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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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Memory Surfaces

[Imprint] Soft_Terrain (inverted), 2012 Sandra Crisp

[Imprint] Soft_Terrain (inverted), © 2012 Sandra Crisp, Ink Jet Print

Sandra’s art is some of the most visually complex work I have ever seen; every time I see her work I am amazed all over again. She works with both static and moving images, curiously the boundary between what is static and what is moving seems to fade away; bits of data are set in motion and bits of life are captured – one easily becomes the other in her hands. In this interview we talk about the barrage of media, memory, continuity and the archive. Is stream of consciousness a natural state equal in magnitude to outside media overload? I think so after talking with Sandra.

(NB: click on any of Sandra’s images to zoom into more detail).

Jane Boyer: You’ve mentioned that your process is slow and you engage this purposefully to counter the invasive speed of media information.  Is this engagement with slowness a kind of self-imposed isolation or is it an immersion?  Do either help counter the barrage of media?

Sandra Crisp: I think that my approach does form a kind of immersion really, it is key to my working process which evolves gradually over time. People have often commented that the work is very complex. It requests an action of slowing down from within to take in the density of detail. I am not sure that I can claim that this slows down the barrage out there, but the intention is definitely to provide a sense of contemplation or slowing down – a counter action.

Pancake Ice (cluster), 2012 Sandra Crisp

Pancake Ice (cluster), © 2012 Sandra Crisp, Ink Jet Print

When I began working digitally just over ten years ago, there seemed to be a general idea in the area of fine art that working within this medium was somehow faster or easier, that the results are impersonal or detached. In fact, most off-the-shelf software is marketed to perform industry image or film editing tasks ever faster and therefore more economically. Each new software update offers an almost obsessive increased speed factor as a main selling point; I still really enjoy the challenge of using out-of-date software versions to address this issue of built in obsolescence. The work is not really about using the latest technology more about using what is around me and readily available, continuing the idea of digital bricolage in my practice.

JB: It strikes me in looking at your Work-in-Progress posts, the notes you make are very intimate much like notes in a studio notebook intended for the artist’s eyes only, yet you choose to make them public.  What is behind the removal of this boundary between private and public and why have you chosen to do it with such a complex mode as stream of consciousness thinking about your working process?

SC: My practice largely revolves around process, so I have approached the blog as I would any other new process; testing it out, trying to explore its form from a fresh angle. From a practice point of view, I am really interested in whether doing these regular informal updates will take the work itself in new directions, becoming entwined with the creative process itself or remain as a diary or record. For me, a stream of consciousness is not a complex approach at all as this is exactly how I work, by holding on to different ideas and developing them through thought process and memory, aided by digital technology and the archive, until connections evolve between previously unrelated elements. The blog format does not have to follow a traditional written literary or academic structure with sentences, punctuation, line and paragraphs, and have any a definite start and end point; it can be open ended, more like an open dialogue and that suits my way of working really well.

Diagram (artificial tree), 2010 Sandra Crisp

Diagram (artificial tree), © 2010 Sandra Crisp, Ink Jet Print

JB: Your own technique of collecting pieces of information presents a ‘compossible’ world, which you relate to personal memory, your own continuity. What is behind your work ‘The Bigger Picture’?

SC: ‘The Bigger Picture’ uses multiple thumbnail visuals found online and scanned media visuals  arranged within a grid formation and contact-sheet format; visuals are continually erased and reworked until the work hovers upon the boundary of disintegration and erasure: Information reduced to a near-abstract mosaic.  Similar to other works in the same series, the image addresses meaning, or loss of this; traces of figures and objects are just discernible but their exact origins or source has become blurred. A narrative seems to be present, but is totally fragmented. The title of the work – ‘The Bigger Picture’ is asking the viewer to stand back and look at the overall context- to see the bigger picture and question the continual everyday bombardment of information; that was the idea anyway.

The Bigger Picture, 2010 sandra Crisp

The Bigger Picture, © 2010 Sandra Crisp, Ink Jet Print

JB: “Images with their origins in the mass media become ingrained in memory – attached to other bits of personal information, ideas and concepts:  A cyclical process of internalising information from ‘out there’, through my own thinking space and then releasing it outwards again…. Collecting, collating, making sense and discovering what is meaningful.” This is an interesting statement on influence from your portfolio website.  Do you think the influence of mass media is changing the way we perceive?  Do we perceive beyond our own senses; perception as amalgamation rather than perception as sensory?

SC: I think that this is undoubtedly true; we do not witness this entire media as passive bystanders by looking in from the outside. Popular culture, the media, and more recently the proliferation of communication media surround us, influencing how we navigate our world. Perception may be altered through both amalgamation over time and also via direct sensory input or experience, we know that we are operating within electronic networks but I don’t think anybody actually sits down and thinks about that directly!

Soft Terrain, © 2011 Sandra Crisp

Soft Terrain, © 2011 Sandra Crisp, Ink Jet Print

JB: Do you feel this transience of information means we are beginning to construct our memories, in the sense of filling in the blanks, and does the archive present a structure to do this? Do you agree with many emerging artists that memory cannot be trusted?

SC: Maybe this is why Facebook as a form of vast public archive/database is so popular – by uploading personal photographs and information we are constructing memory, using it as a way of editing and ascertaining what is important; filling in the blanks. So yes, I think that the archive does offer a structure for this. I often think of my work, both still and moving images as memory surfaces particularly when I am working with pixels on screen. There, transient and borrowed information is anchored and reconfigured until new meanings are formed; a process of filtering the digital until it fuses with my own memory and associations.  Recollection and memory is affected by so many different inputs and stimuli, therefore, in this data driven age where the information we absorbs is transient and in continual flux it would seems that memory can be trusted ever less.

I’ve asked the artists to share a list of books they find informative for their practice. Follow the links here or visit the Bookshop to see all the books suggested so far. We hope you will see something inspiring for your own interests. Your book purchase made through This ‘Me’ of Mine will help raise funds for the project.

Sandra’s suggested reading:

Ai Weiwei Speaks with Hans Ulrich Obrist by Hans Ulrich Obrist & Ai WeiWei
The Second Self: Computers and the Human Spirit by Sherry Turkle
Alone Together: Why We Expect More from Technology and Less from Each Other by Sherry Turkle
The Hidden Connections: A Science for Sustainable living by Fritjof Capra
O.M. Ungers: Morphologies, City Metaphors by O.M. Ungers
Chance (Documents of Contemporary Art) Whitechapel Art Gallery edited by Margaret Iverson
Digital Art (World of Art) by Christiane Paul
Robert Smithson: Spiral Jetty edited by Lynne Cooke
Atlas of Cyberspace by Martin Dodge & Rob Kitchin

Jane’s Additions:

Terror and the Sublime in Art and Critical Theory: from Auschwitz to Hiroshima to September 11 and Beyond by Gene Ray
New Media in Late 20th Century Art by Michael Rush

If you enjoyed this interview, please follow This ‘Me’ of Mine by clicking the ‘follow’ button below.  You can also follow us on Twitter and Facebook, those links are also below.  Pop in and see the great work our partners are doing too! Click on the logos below to go to their sites.

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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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