IN ALL DIRECTIONS | CONTEMPORARY COLLECTIVE

Abigail Box with other artists from Unit 3 Projects

23 April – 05 May

An exhibition showing work made by ten artists from Unit 3 Projects during their residency at Contemporary Collective. Taking ‘gesture’ as its central theme, In All Directions is a celebration of possibility, exchange and risk.

Please join us for a drink on May 2nd when all the galleries on Vyner Street will open late 6 – 9 pm for First Thursdays.

Artists in conversation
My video from the evening of talks
Photos out and about

Photo (left to right): Pamela Carr, Henry Byrne, Silvia Krupinska, Luis Ignacio Rodriguez, Jennifer Farmer, Hormazd Narielwalla, Samuel Overington and Abigail Box. (MIA: Flavius Alagrius and John Appleton)

Twitter: #InAllDirections #DAresidency #Unit3Projects | Facebook: facebook.com/Unit3Gallery Tumblr: Unit-3.tumblr.com

Events surrounding the exhibition:
Tue 23 Apr Exhibition opening with Talks 6-9 pm
Thu 02 May First Thursdays 6-9 pm
Sat 04 May But What Kind Of Art open discussion7-9 pm

Some photos and images from throughout the residency…


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UNIT 3 PROJECTS IN RESIDENCE

24 March – 05 May

10 diverse artists from Unit 3 Projects will work with, beside, around and against one another in DegreeArt’s ‘The Execution Room’ in order to engage themselves and you in an experimental and haphazard creative conversation. Taking ‘gesture’ as its central theme, In All Directions is a celebration of possibility, exchange and risk.

The residency will see the exhibition space transformed into an artist studio with an active and engaging atmosphere. Open daily 12-6 pm for visitors to come and see work being conceived of, made and discussed.

Photo (left to right): Pamela Carr, Henry Byrne, Silvia Krupinska, Luis Ignacio Rodriguez, Jennifer Farmer, Hormazd Narielwalla, Samuel Overington and Abigail Box. (MIA: Flavius Alagrius and John Appleton)

UNIT 3 PROJECTS IN CONVERDATION

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Throughout our residency at DegreeArt I made quick notes of a few of our conversations. Here are a few snippets of things I remembered to write down… I’ve elaborated on a few afterwards whilst typing them up.

In the lead up to the residency, Samuel shot a short video of each Unit 3 artist in their own studio talking a bit about their work. Everyone said how nice it was to watch Jennifer’s video as she can be such a generous listener and so it was nice to have the chance to hear her indulge in talking about her own work. Also with Jennifer being a script writer come artist who creates mostly audio pieces, it’s difficult to gauge an understanding for what it is she is working on until she has finished. Hearing her speak her thoughts out loud .. and to watch her writing/mapping them out on the floor of the studio has given an incite into an otherwise private thought process.

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Luis and his elaborate labels. ‘ethnic post-modernism’ …  We all join in… ‘de constructed new media abstract expressionism’… ‘industrial nude super flat hyperrealism.

Whilst Chantelle and I were talking about the different ways we could document the residency she explained a bit about what she meant by ‘Unpacking’ the project and exhibition. An archiving of sorts, unpacking the whole event into ways for exploring online and be engaged with further, with access to extra content like the artist interviews and the online magazine with the Unit 3 Exquisite Corpse Relay feature.

I’ve since been interested in what it means to apply the term to something visual, the way imagery can be ‘unpacked’ / de constructed to be understood and rebuilt and translated.

Pam has told me that the colours in my painting .GIF 1:5 float. float/dance/flash – i’d like this to be the case as it would be similar to the real flashing .gif file animation. The different parts of the image, the tiger, the rug and the space surrounding them… it would be nice for them to all float, midair, in layers the way that the .gif file was constructed in Photoshop.

We found wine! Conversations included something about the height of Luis and of Tom Cruise. The Luis was introduced to glow sticks bracelets and Henry brought a massive chocolate Easter egg to share.

imageI told Pam about the time that I walked through Weavers field and I found her favourite bit of ‘beaten path’ which she spoke about in her Pecha Kucha talk in 2012. I knew so much about Pam’s love for this bit of the park which had worn away from being walked on every day …it felt like I was encountering something really famous and extraordinary

Ramzi came in on Saturday and we spoke a bit about how the .GIF painting going – I had just stretched it around its frame. Thinking out loud I explained that I liked that the diagonal corners of the rug touch either side of the canvas as it gives the impression that the rug could be spun as though on a pivot. Which is great because it further alludes to the gesture/action which happened to the original image when it was manipulated in Photoshop. Resizing the square rug shape, pulling each corner out separately.. at one point the shape magically goes from looking flat to seeming as though it is 3D and is rotating within the computer screen. The computer screen is for a moment transformed into a space with depth and perspective.

This is also why I like taking photographs of the paintings whilst they’re laid on the floor before being stretched and the movement also reminds me of this piece by Richard Serra.

With the bars on the DegreeArt windows and with our name being Unit 3 Projects we decided that we sound more like a mental institution. Good excuse to come in tomorrow wearing dressing gowns and slippers.

On the first day Pam and I talked about how we both stretch canvas onto the wall to get a hard surface to work on. Pam also mentioned that she was enjoying having the space in the gallery to work bigger and that it’ll be nice to have room to stand back and look at what we’re making from a distance.

Whilst Samuel and Andrea choreographed parts of the contact improvisation: “Pam is the bowl ringer and the spool” it sounded as though Pam was getting parts in the school play, and alternative nativity of some sort.

Relating to the wall of leaves in Henry’s own studio, we chatted about wallpaper patterns and decorative rugs and how we’d like to paint from those as an exercise in looking and mark making taking into account our individual approaches. exploring the surfaces, the folds and creases.

We suggested doing a collaborative piece combining Henry’s wall of leaves and my tiger motives. A design… crouching wallpaper hidden tiger. The Box Bryne McQueen (not sure how McQueen came into this..) fashion leggings range. yes.

More likely, we’re planning to paint together from the same wall of leaves at some point. We both have different painting styles, and I think from hearing Henry talk about some of the ways that he approaches observation and painting from life I wanted to have a go at letting my own painting be informed by that.

I asked Luis how he came to his response to the Exquisite Corpse Relay. ‘REALLY? I guess we’ll never know such fun!’ @luisignacio Issue 03 (page 84) Degree Art Online Magazine. Luis explained that it was an image which reflected several misinterpretations. The first being a certain expression of his which is often misunderstood, along with a road sign which reads ‘Diversion’ although the ..sion is obscured leaving just the word ‘Diver’ which in Spanish means fun, short for ‘divertido’ funny. ‘buses on diversion’ Luis says is something to find amusing if you speak Spanish. glad I asked.

“Angelina Jollie is your pencil” Long story but essentially we were talking about John Baldessari sharpening his pencil and it teaching him something about what art is to him.

Samuel’s beautiful note making for the text written for our joint exhibition ‘In All Directions’ in the Unit 3 Projects space made me want to handwrite some of my own note taking.

Re looking / reconsidering thing, I remember sitting in maths class with Emily talking about the strangeness of eyelashes and fingernails.

“Brunch, does anyone do it?” Silvia: I like what it is but I wouldn’t call it brunch. Henry the next day: I’ve had Brunch, I like it.

When I can’t think of the right word, especially for an action or gesture I often catch myself making the movement with my hands.. I talk a lot with my hands.

Being on camera, we talk about how we cannot act normal. I completely over consider everything I say. I’d prefer to be caught off guard and be more conversational. Silvia and I struggle with silences, always filling them in in a panic.

I’m conscious of having to explain myself in a short amount of time, quickly and concisely. Whereas many of the artist talks/conversations I enjoy are over a hour or so, the conversation becomes relaxed and there is time to think and then talk… meaning more of an incite into their thought process.

Here’s a collection of artist interview which I find inspiring – I often have these playing in my own studio late at night.

I talk with a couple who come in to see the space about the childrens book The Tiger Who Came for Tea. This lead on to talking about people who keep huge wild cats in their homes, I’m totally confused by this.