Last week I wrote an article for Gloucestershire’s local newspaper, Echo, on a new contemporary installation by Iavor Lubomirov at The Wilson art gallery and museum in Cheltenham, as part of their contemporary art exhibition ‘the open west’. My article was published on Saturday 23 May. Lubomirov’s artwork, ‘Wallpaper by the Roll’, 2013, is in dialogue with William Morris’s own art and ethos for living. It consists of a rolled paper sculpture and framed off-cuts, each comprised of delicately layered strips of Morris & Co Marigold Cowslip Wallpaper. This is historic and domesticized wallpaper that has been made tactile and dynamic.
This article is published in Trebuchet Magazine
Claiming that he was always “interested in space”, American artist Dale Chihuly has enthusiastically adorned the entire interior of the Halcyon Gallery on New Bond Street with his large hand-blown glass sculptures. These works and installations are collectively titled Beyond The Object, which seems appropriate for Chihuly’s attention to space and architecture surrounding his artworks. From the street, the objects glint in enticingly strong colours, and once inside, they completely absorb you.
The vibrant glass sculptures cover – and at times seem to crawl over – the walls, floors and windows in fantastical displays of colour, energy and light. Each is reminiscent of sea creatures: limpets, shells, jellyfish, seaweed, or anemones. Yet they also take on abstract shapes, stimulating one’s imagination and engagement with form over detail.
The shadows cast by the three-dimensional objects are definitely important for each sculpture and they work in a number of ways. They extend the spaces of the sculpture, highlight and compliment the glass colours and magnify some of the details on the sculptures’ surfaces. The shadows also challenge assumptions that glass sculptures are inherently static objects, because, of course, the shadows change and move throughout the day. Continue reading
This article is published on the UCL Art Museum blog
The themes, materials and presentations of the annual collaborations have varied immensely, and this year there is a great diversity within the exhibition itself. The range of media is particularly striking, as is the way digital technologies have been used and portrayed to give new experiences of space – particularly the spaces of the UCL Art Museum itself.
There are four time-based media works and one beautifully crafted light box installation, giving emphasis to technological media within the show. However, an array of oil paintings, intricate drawings, etchings and even a bronze cast are also part of this exhibition. Continue reading
This interview is published in Ideas Magazine
What are feathers like to work with as a medium?
There are certainly drawbacks. They are fragile. If I don’t wrap a piece correctly, or if someone were to ruffle the feathers, it can take time to mend them. Usually this can be done with stroking and preening, but occasionally a section of feathers may have to be replaced. That means they’re actually fairly forgiving as but it does involve quite a bit of time and normally with an installation that can be limited.
How do you choose which type of feathers to use?
I’m interested in the beauty of overlooked or disliked birds like the mallard, magpie and crow. I want you to re-examine your prejudices and look at the creatures afresh. Continue reading
Donachie’s work “Weight, Susan’s Eyes and Winter Trees 2008” is a recent acquisition of The Leamington Art Gallery and is an important and thought-provoking piece to have in their collection. It stands out in the gallery because it is so different to the other pieces on display: it is an installation, and is modern and minimalist in its use of media, techniques and presentation. It helps to raise and expand important debates such as the interaction between science and art, the relationship between the art object and the viewer, and ideas about the politics of representation and interpretation.
This work is also captivating because of the refreshing and unusual way it focuses on the genetic disorder Muscular Dystrophy – which the artist’s sister has. Muscular Dystrophy is a muscle wasting condition of which there are many types – and each affects different muscles. Most conditions are progressive, causing the muscles to weaken over time. Some form of this disease affects more than 70,000 people in the UK. There is no cure for any of the different types, though there are various treatments that can help and gene therapy may be developed in the future. Continue reading