Wednesday, 18 October 2017

First Month Done & First Blog Post - Amy Matthews



I am Amy-Lou Matthews and I am currently one of the artists on the six month graduate residency at AirSpace. I am in full swing into my second month on the residency with two exhibitions coming up in the next week to month.

So far on my time here I have been looking into sound effects, as my proposal for the residency was looking into the post-production techniques used in film and photography, to forget what your seeing is fictions, blurring the line between reality and fantasy.

So far I have been experimenting with recording my own sound effects and combined the use of images with the artificial noises produced. The images above are some of my experiments of using everyday items to produce certain sounds that reflect breaking bones and rainfall.

I am interested in using a images documenting the process of creating the sound with a image of the what the sound is intended while playing the recording between them both. Become a little playful with wondering what image has actually documented sound.

One my first month on the residency I took the opportunity to see ‘I Want! I Want! Art & Technology’ exhibition in Birmingham Museum and Art Gallery in early September. The show exhibited artists that have been influenced by the rapid developments in technology in the last twenty years. Here I was introduced to Rachel Maclean’s work ‘Feed Me’ (2015), where she explores with exploitations and sexualisation of childhood in culture in contrast with the immature behavior of adults. This hour-long film mashes several genres together, jumping from horror to reality TV shows. Maclean take on the role of each character with the use of prosthetics and green screen to compose herself into this hyper surreal world. I can not help but feel some connections, recognise similar elements with our behaviours, holding a mirror up reflecting an feverish version of our reality. For example where as a culture we can idolize celebs separating them from being a human being and more as a product to be consumed.


Later on in September I was able to visit artist lead spaces such as Blue Coat and Royal Standard in Liverpool. This was all arranged by New Art West Midlands, as away of connecting artist in this area and given opportunity to check out current projects artist are working on. Had the chance to see Abacus Exhibition in Blue Coat. The work exhibited all had the intention to inspire children into drawing, reading and making. Shifting the usual norm of a gallery setting, Blue Coat turned there show into the into a space where it allowed children to give into their intuitive nature through play. One piece that caught my attention was ‘Structures for Play’ (2017) by Emily Speed. This work consisted of several architectural spaces that would typically be for ‘adults’. These scaled down structure matching children proportions, are spaces that usually provoke a certain type of behavior while inhabiting them. These consisted of court, voting pole and chapel. These structures become quite theatrical, where children could take on the ‘stage’ as it were.


This piece has sparked off an idea of mine to create workshops that demonstrate sound effects later on residency with children. Show sound effects at play in video and how they are used to heighten a sense. Then create our own during the workshop, the use of everyday objects being manipulated to produce noises that can be used to create whole worlds and stories through the use of sound.

Things coming up…

One event that is coming thick and fast is The Last Bus Exhibition, that is opening on the 13th of October. Is going to be one last big event for Hanley’s old bus station before it is knocked down. This space for many years would have been interlinking space, connecting many people in the area together while the station was running. The space had very mixed feelings about it from the public and this is chance for the bus station to end on a high, letting people recapture those few happy memories experienced there. This week I will be installing my piece, which is made up of six separate rolls of bus tickets unraveling.

As well as The Last Bus I also be preparing for the open studios in AirSpace on the 14th of October. This a day where the public are invited to have a look ‘back stage’ of what goes on in the studios. A peek into the space we artist test and push their ideas.
The next big push will be the interim show that Natasha Brzezicki (artist also on the residency) and I while be taking part. This work will look at giving a possible taste of what our shows may be exploring in late January 2018.

Thursday, 5 October 2017

Month one: Graduate Residency at AirSpace Gallery - Natasha Brzezicki



It’s been just over one month since I began a six month graduate residency at Airspace Gallery in Stoke-on-Trent. It’s been busy: finding a temporary home, moving into the studio, becoming familiar with new surroundings, and picking up my practice again for the first time since leaving university in May.

Aims and plans:

During the residency I’d like to manufacture an immersive space for listening carefully, or looking closely, at subtle sounds, objects and writings, hoping to initiate a sense of introspection. I want to build on my ideas based around language, sound, sculpture and human relationships, and explore hands as subject matter. Hands are emotive and gestural, involved in communication, physical touch, the senses – but also the most important body part in physically making and crafting in the arts. I am interested in how this links to Stoke-on-Trent, with its rich history of hands-on making.

The Last Bus:

This exhibition is fast approaching and as part of airspace studios myself, Amy (who is also undertaking a graduate residency) and several other artists with studios at airspace are exhibiting work too. It’s happening across a series of disused buildings in Hanley before they are knocked down. I have been making a series of journeys by bus and on foot through the 6 towns of Stoke-on-Trent collecting stones along the way, from which I will build cairns – the journeys themselves being documented in the form of a book.

Cairn: a mound of rough stones built as a memorial or landmark, typically on a hilltop or skyline.









Liverpool: Bluecoat and The Royal Standard

New Art West Midlands funded travel for Amy and I to visit Liverpool in mid September. We visited ‘Abacus’ at Bluecoat, an exhibition encouraging playfulness and interaction, and Kevin Hunt, whose work was included in the show, gave us a tour of the print studios and various other spaces within the gallery. We then walked over to The Royal Standard – a complex of studios and other spaces for creatives. It was interesting to see how the artists work in their own spaces, and compare it to the clean and polished exhibition at the Bluecoat. I felt inspired by the raw ideas and the lesser finished works, feeling keen to get back to my own studio.

Meeting with Terry Shave:

Last week Amy and I both met with Terry Shave, who is on the board at Airspace, to discuss our ideas so far and where we hope to take them during the residency. It was great to speak with Terry, to hear his insights into my ideas and felt positive to go through the process of explaining why I make the work I do, which I think is important to constantly reaffirm to yourself when making. Our conversations centred around cultures of display in the museum/the art gallery, how writing can be framed as art, the assignment of value to objects, to feelings, to tangible and to intangible, the possibility of collaboration with scientists or musicians, and we discussed how I might really use the environment I’m in to impact the work I make by drawing in some elements of site-specificity.

Bee Works – Klaus Weber

I was making a coffee in the studios’ kitchen when I stumbled across this book – it was a pleasant surprise. Following on from recent work exploring the visualisation of sound in human language and bird calls, musical scores and spectrograms (you can read more about this here) – I have been wanting to create a ‘natural’ or ‘chance’ composition. A musical score or similar which is exposed to natural beings and to the elements. The score would capture traces of what has been. I would then translate these markings into musical notes, similarly to how I worked from the spectrograms, being left with sound crafted from visual data. Weber’s Bee Works consist of canvases set up to catch bee droppings made at a particular time of year, similar in this intention to capture and record the environment, working with nature.



Clay college:

Hoping to develop some technical skills using clay I enrolled onto an evening course at clay college based at Middleport Pottery where I am learning to throw on a wheel. This is a skill I have always had an interest in and it seemed fitting to try my hand at it whilst I’m staying in the potteries! Below is one of the many wonky pots I’ve thrown.


Currently reading: Landmarks by Robert Macfarlane

I’ve really been enjoying the focus on language in this book – there is something undeniably human about the birthing of a word and the attachment of it to an object, emotion or landscape. I’ve become interested in what it means to use language and particularly what I am referring to in my work as the ‘duality’ of language, words with double meanings that cross the line that separates the human and natural world. ‘To engulf’, ‘to burrow’, ‘to grow’.

Wednesday, 4 October 2017

AirSpace Graduate Residency 2017/18 - Meet the Artists


In August 2017, we selected from open call, two new graduates - Amy Lou Matthews and Natasha Brzezicki, for the 6th instalment of our Graduate Residency Programme.

Now more than a month in, and preparing to show work in their interim Residency exhibitions, they set out their practice and plans.

Amy-Lou Matthews
(graduated in 2017 from Staffordshire University Fine Art)


My practice is based around film, photography, choreography and staging, where acts of playful nature are used in the performances. In the past, I have used performances within my practice to explore the archetypes of identity. This experimentation has evolved into a fascination of the more absurd, by using myself in the performance and the demonstration of how these can be constructed.
Past works such as the ‘Four Shades’(2016) used post-production techniques to merge different recorded performances into a single constructed time period, overlaying the footage to connect together separate actions and forming an cohesive group performance. Later works explore with green screen as space of endless potential while physical in our reality is typically a very bleak and bear stage. I find the whole concept of a production set in it self is a stage, stripped of visual elements to become abstract in our reality to later exist in reality very absurd.

On the residency I will be following on with my past themes of the absurd, exploring further within digital works as well as set designs working alongside one another. I plan to develop my knowledge and use of production techniques that are used in cinematic films and bring them into a gallery. I would like to explore further with green screen as a stage of endless potential, that objects acting as ‘stand ins’ for other props even have the opportunity to act in these space, Investigating Bertolt Brecht's theory of ‘distancing affects’ and question if we as a culture are becoming lost in the smoke and mirrors of digital advances in entertainment where fictional stories appear realistic. 

http://amyloumatthewsalm.wixsite.com/artist 

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Natasha Brzezicki
(graduated in 2017 from Coventry University Fine Art)


Natasha's interests lie in the notion of the artist as translator: a mediator between scientist and the layman. The practice is interdisciplinary, maintaining a closeness to science and a sensitivity to the organic world. A compulsion to identify and categorise within her practice leads her to subject nature to human notions of order; likening human nature to the slow formation of a stone shaped by the sea. Currently, she is researching the intricacies of birdsong, exploring its parallels to the human voice to find a method of ‘translation’ that depends on strategic allocation of data with a particular interest in an idea of emotion vs. physicality, the transferal of a sentiment into an object and how ‘sentimental value’ is comparable to monetary value.


During this residency I would plan to develop my enquiry into the intricacies of language: how birdsong can be ‘translated’ into human text and vice versa. I would be keen to bring the outdoors inside and capture new field recordings of birdsong before manipulating them digitally; crafting the pure and the natural into something ordered and human. I would use the time to delve deeper into ‘sound as art’ and aim to perfect the creation of a truly immersive environment; how to manufacture a space for listening carefully to subtle sounds and the introspection that naturally accompanies this.

http://www.natashabrzezicki.com/