Tuesday, December 31, 2013

New Website

This blog has served me well over the past few years as a hybrid place for showing work and posting about other interests. It is time though for these to be separated and replaced by a new website and a blog of unruly thoughts.  

Saturday, August 31, 2013

Unknown Quantity - with extract from text by Claudia Capocci

They’re placed on top of each other in the same way you made a cage of pencils. The colours are gorgeous. Like they were singled out of the colour palette of the room. ---‘I’ve applied to work in a castle’ he’s wearing a bright red shirt, and one of the yellow Frieze bags you got at the art fair. –-and positioned together like a muted rainbow. That closes into each other, and placed in a space that’s the opposite to where the rainbow would usually be. It looks like a part of the—‘is that double socket a part of the work?’

I was wondering this, I could see the orange On light shining through the back

Could I charge my phone for five minutes? It had speakers plugged in it for the last show.—architecture. 
Claudia Capocci
The space has a mugginess to it that could make those bridles come in handy--

Dahhhh bah dahhhh, this young girl sure knows how to make an entrance.

‘I really really like the artwork here, I’m going upstairs now’

She bounds away. And skips back, and trots away, and walks out.

And quickly tiptoes back in.

The bridles—‘don’t run so close to the artwork darling, you might fall over’ she has some lovely pink strappy sandles, with pink socks. My favourite thing, seeing children in galleries. We’re looking at her amongst the art works. And she thinks we’re just looking at her so she performs for us.


Communist protest architecture

Blocks of flats

Lived in one of them.

What I thought were bridles, are in fact skeletons of clothes,  most of the material cut away from the seams, leaving the core and the most useful part of the clothes left. If you did wear them, I guess it would look like bridles on humans. But serve no purpose. I like the point of realisation when you realise that something is in fact something else. She manipulates her materials very well in order to create this—How do flies feel when they’re blown away from your face? One step forward, two steps back.

I think I thought they were bridles because of the way theyre hung. Coupled with the impression the space gives.

The architectural relationships between Will and Anja’s work. Both from different countries, both with the same idea of analyzing the living situations below the poverty line. Funnily enough, both with the same kind of colours.

-----Leak in the ceiling. Now theres a tiny puddle. DON’T PANIC NOTHINGS RUINED.

Speaking of, five minutes ago I noticed these gaping holes in the floor.
When you look inside them,
-One looks like a miniature well that a character from a film like Spartacus could get stuck in, I also want to say that’s a part of Rumplestiltskin but I’m not sure there’s a well in that at all.
-the other has water at the bottom and therefore a tiny dot of reflected light is on it. Which can either look like the most dilated pupil I’ve ever seen. Or an infinitesimal star, that this cellar floor has somehow managed to contain.


Friday, August 30, 2013

Unknown Quantity @ The Looking Glass

Anja Borowicz, Agnese Matteini & Will Thompson - From about the country these artists have been brought together because of their use of materials and intertwining narratives that are prevalent in each their work. Claudia Capocci will be unraveling the works in a text piece, that will unfold over the subsequent weeks, to make more sense (or less) of the works and their relationships.

With a fresh and innovative approach to the arts and events scene, The Looking Glass is an ambitious new venue. Presenting and producing cutting edge works covering Live Music, DJs, Performance Art, Theatre, Installation and Visual Art. 

Sunday, June 30, 2013

Slade Graduate Show 2013

Seams (Contractible Body)

Exploring the notion of a shy body enabled to expand in space, the structure takes its reference points from the measurements of artist body. Made from cut and stained recycled wood, the monetary value exists in the accessory of brass fittings. Collapsed dimensions 205 x 165 x 45 cm, expanded dimensions changeable.

Box Patterns (Wearables)

Shown here as a sculptural piece in an installation, this work is also offered up for a performance. Made from recycled boxes and underlined with with fabric, the pieces become wearable spatial units exchanged between contracted performers and public. The aesthetic value of the work is used up with each wear whilst the cost of it grows for each contracted performance. Dimensions app. 130x130x70cm

Box Patterns (Wearables)

Performative Exchange

Box Patterns (Nets & Layouts)

Recycled packaging from consumables purchased over a 1-year period, photographed in stacks of different net designs. Duratrans print, lightbox. 

Seams (Wearables)

Full set of clothes, steel hook

Stacks (Unwanted Heritage)

Stackable and reconfigurable units refer to architectural design developed during communist regime in Poland. Concrete, fibreglass, pigment. Unit dimension 45 x 55 x 5cm

Labour (Cleaned)

Bleached organic matter in plastic sleeves

Monday, May 6, 2013

Cities Methodologies 2013


Anja Borowicz and Vanessa Maurice-Williams – Urban Pathways and Seams of Space

This project focuses on the idea of movement and spatial identity in the city, questioning our response to various spaces through the language of painting, sculpture, performance and architecture. The exhibit is offered up for an interaction and engagement – to be walked through, picked up, worn and imagined. 

Tuesday, April 30, 2013

Performative Workshop: Materials @ the Centre

This workshop was performed as a part of an event at the Institute of Making : Materials @ the Centre. This event brought together researcher from across the arts, sciences and humanities to interrogate the relationship between the cognitive and the material in research. The discussion proposed that materials, the act of making and processes of experimentation can fire the imagination in ways that complement language and make possible new ways of thinking.