Kaws at YSP

I had been over a few times to walk around the park and enjoyed the Kaws exhibition but I had not managed to find time to get up to the Long Gallery or do some sketching. Just before it closed I managed to squeeze 4 hours in and was not disappointed.

These are a fairly typical approach to drawing that I have when I go gallery drawing, I always try to take one sensible pencil case but always end up with at least 3. I then love to sit on the floor and draw what comes to me which may or may not include signs of what i am actually looking at. They are often a hybrid of forms or / and paintings.

In the case of the Kaws exhibition, the drawings are quite suggestive of it with the silhouettes and crosses for eyes. I keep a drawing blog [although not so much this past 18 months] and I went through a phase of about a year when a lot of drawings featured a great big X through them [often in pink or red]. https://drawing.me.uk/

I often think of my drawings as being fairly colorful, sitting with the KAWS work made me think otherwise – rather dull.

 

Aurora Passero

Passero uses

cloth – coloured nylon thread – tastles – fringing.

Abstract art works with an interest in the material as a point of departure.

                                          Lack of subordination between the material and craft of making to the concept.

THE RESISTANCE AND BALANCE BETWEEN MATERIAL, ROOM, FORM AND CONTENT ARE FOCAL POINTS.

passero
Exhibition: Ivory Tactics. Kunstnerforbundet, Oslo, 2012

The lack of hierarchy within the practice is something that is of interest to me within my own practice, a lot of the early paint making that I undertook a few years ago, grew out of a desire to eradicate the idea over the action. I am keen to observe balance and see all aspects of a painting or drawing act[ion] to be of equal status.

http://www.studiospacedout.com/http/spacedoutinteriorstumbrcom/2015/1/12/aurora-passero

Camilla Steinum

Materials Driven.

textiles – felt – ready made objects – shower curtains. weaves between the structure of frameworks she creates, fluid mature of textile. Is a weaver and considers grid like influences [of weave] with connections to labour, mass production and capitalism.

I have selected these two images due to the slightly unweildy look of the textile, they seem at odds with the clean design of the framework – which could have been a simple DIY job [although it may not be].

left: https://www.grossestreffen.org/files/camilla-steinum/wud5wfqlf76zf3uyikmsrthe5jjx3zvw.pdf

right:http://www.tekstilkunst.org/english/exhibit/camilla_steinum

Learning to make Glass Beads.

I was lucky enough to go to Berlin this month [a field trip with students] and found the time to find out about a few workshops that i could take part in. i was keen to experience something I really had no experience in and so I picked the glass bead making session. It was an organised group session however I was the only one so got a 1:1 session for an hour and then had a few hours after to work under my own steam.

I was totally transfixed with the process, it was strange to be doing something so hands on yet their was no skin to material contact while it was being made. When drawing or making textiles, the hand and touch plays such an important role – particularly in terms of having a direct understanding of how a material is responding.

Here you can see the results of this session and my notes on what to do. I am interested in perhaps developing this further if it feels appropriate. I have found, although not yet visited, a studio which offers open workshops for glass bead making in Hebdon Bridge which is quite local to me.

g1r
Hand made glass beads. [Perren, 2016]
g2r
Hand made glass beads. [Perren, 2016]

Josh Faught

conflated personal histories [and collective histories] in response to the history of textiles. Particular interest in ‘summer & winter’ weaves and their doublesidedness. interested in the role of craft and its relationship to political activism. CELEBRATION OF HOBBY CRAFT ASSOCIATIONS WITHOUT RIDICULE OF THE PEOPLE WHO PARTAKE IN SUCH ACTIVITIES.

This isn’t the first or last reference to identity politics in Faught’s work, and the history of the role of craft – textiles in particular – in and as political activism is clear both here and in previous works, eg, in his replication of sections of the AIDS Memorial Quilt.

ArtReview

faught

Josh Faught. Triage, 2009

Hemp, nail polish, spray paint, indigo, logwood, toilet paper, pins, books, plaster, yarn, hand made wooden sign, denim, and gloves.  203.2 x 304.8 cm